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This study aims to explore the boundaries and creative possibilities of composing and improvising music with a base in sampled saxophone fragments inside of Ableton Live. The study have included things as: exploring different sound design techniques, manipulation of saxophone samples, composing and rearranging music as well as rehearsing with a band and trying different concepts and approaches to performing the music in a live situation. The work includes creating polytonal sample instruments built inside of Live and the creation of more texture based ones as well. This work also resulted in composing 6 different compositions and the rearranging of an earlier composition to match the aesthetic character of the other ones. I’ve also tried to stretch the linear boundaries of Ableton Live with a more rubato based approach to composing to see what possibilities the program had to handle that type of context.As a composer I’ve early on created an aesthetic vision of what I wanted this sample based music to sound like and tried to very precisely recreate what I’ve heard inside of my head in detailed sketches in Ableton Live using midi instruments together with the sampled textures and instruments. I then realised that a great deal of the final task of this study was to bring this vision to the ensemble and make them play the music in a way that resonated with what I’ve heard when I composed it.

Syftet med detta arbete är att fördjupa min kunskap om hur datorn kan användas som musikaliskt instrument. Datorer kan reproducera och simulera akustiska instrument men likväl kan den även skapa elektroakustiska ljud genom synthesizer och samplers. Inom det moderna musikskapandet är datorn ett ytterst viktigt instrument där den bland annat fungerar som dokumentationsmaskin, det vill säga vår tids bandspelare. Andra användningsområden av datorn i dagens musiklandskap är i ”live-framträdanden”. Med detta arbete vill jag praktisera och fördjupa mina kunskaper om hur datorn kan användas som instrument i mitt eget musicerande. Genom dokumentation i form av loggbok, video och ljudinspelningar kommer jag att analysera min process med avstamp inom det sociokulturella perspektivet. / The purpose of this work is to deepen my knowledge of how the computer can be used as a musical instrument. Computers can reproduce and simulate acoustic instruments but still they can also create electroacoustic sounds through synthesizers and samplers. In modern music creation, the computer is an extremely important instrument where, among other things, it serves as a tape-machine, the tape recorder of our time. Other uses of the computer in today's music landscape are in "live performances".   With this work I want to practice and deepen my knowledge of how the computer can be used as an instrument in my own music making. Through documentation in the form of logbook, video and audio recordings, I will analyze my process with an starting point in the socio-cultural perspective.

Premise and Objectives In our increasingly technology driven society, the impact of technology touches nearly every aspect of our lives in some form or another. This has been acutely felt within the world of percussion, with electroacoustic works representing perhaps the most rapidly expanding area of concert percussion over the last twenty years. Electroacoustic music couples electronic technology with traditional acoustic instruments and/or performance practices. Broadly, this paper outlines a systematic approach to teaching electroacoustic performance practice, based on elements found in a cross-section of percussion literature. In using such an approach, not only does each student become more capable of dealing with this growing body of literature, but also the process of educating these students becomes more efficient for the teacher. As a result, delivery becomes more effectively standardized, and resources can be shared more efficiently among multiple students who may be studying different types of electroacoustic repertoire. Method To organize this exploration, three main genres of electroacoustic repertoire for percussion are compared: prerecorded soundscape, live processing, and electronic pieces. This comparison illuminates the tools and techniques that are relevant to each type of repertoire and reflects not only the narrower focus of electroacoustic percussion, but also the broader goals of applied percussion instruction in the context of a “total” percussion program. Each classification is explored by addressing its critical elements using prime examples from the relevant standard repertoire. For the first classification of works, tape pieces, the project includes discussion on signal flow, balancing electronic and acoustic sound sources, an introduction to digital audio workstations (DAWs), and monitoring techniques. Two primary examples of the repertoire are used to contribute to this discussion; Javier Alvarez’s Temazcal for maracas and tape, and Brian Blume’s Strands of Time. Live processing works present increased challenges with concepts, including sound reinforcement, recording production, how to edit and creatively manipulate sound both in post-production and live, and detailed concepts of signal flow, often including MIDI protocol. To explore the concepts specifically relevant to live processed works, Nigel Westlake’s classic work, Fabian Theory, for amplified marimba and three toms, is offered. Electronic works give students further opportunity to explore MIDI mapping, patch and parameter changes using both hardware and software, and sometimes sound design. In this context, there is a brief exploration of Steve Reich’s Violin Phase. Finally, an exploration of Hans Werner Henze’s, Prison Song demonstrates how all of this technology and technique can come together in combination works. The work requires live sound reinforcement, pre-recorded soundscapes, separate monitoring, live processing, and live MIDI controllers. The paper closes with a brief summary of extra pedagogical considerations, including resource management, pedagogical philosophy, and further implications. Conclusion By examining the logical steps of pedagogically developing through the different broad categories of electroacoustic music, with an emphasis on its reflection of broader liberal values and critical applied analysis, it is believed that this research could yield a model for a more thoughtful approach for applied percussion teachers.

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This dissertation investigates the process of collaboration and the application of both notational and technological schemes to integrate elements of contemporary composition and tap dance as a consolidated art form. Overall, this document gives an overview of choreographer/composer collaborations in Western classical music; movement notation; and ultimately analyzes my original music—a live set for tap dancer, live musicians and electronics—entitled Digital Tap Dance. Altogether, this project represents the culmination of music and dance as a compelling intermedia collaboration. By (1) researching different practices of composer-choreographer collaborations, (2) notating rudiments for tap dance, (3) creating software for tap dancers, and (4) composing original music for tap dancers, this dissertation will create options for composers and choreographers alike in composition and improvisation.

La industria musical en el Perú ha tenido un avance significativo tanto en la producción y la presentación de eventos, como en la utilización de diversos softwares que potencian los espectáculos musicales. A pesar de ello, los elementos técnicos poseen aún la misma informalidad que ronda al mundo musical que, sumado a la falta de conocimiento en el aspecto tecnológico, pueden originar considerables sobrecostos, a pesar de su reversibilidad. El escenario planteado ha impulsado la creación de un modelo de negocio que apunta al desarrollo y gestión de un sistema automatizado llamado Frodo, cuyo objetivo consiste en controlar las áreas involucradas en la performance en vivo (elementos técnicos) a través del cable Ethernet y la sincronización que posibilita Timecode. El presente sistema utiliza un software de producción musical llamado Ableton Live, el cual permite llevar todos los recursos de un estudio de grabación a los espectáculos en vivo, aunado al uso del sound desing. Así mismo, la correcta aplicación del flujo de la información, referente a las conexiones dentro del sistema, más la construcción de racks, facilita el enlace de diversos elementos en el escenario y la proyección de imágenes sobre superficies reales que brinda el videomapping. Todo ello desemboca en dos aportes importantes: en la parte musical, se encuentra el flujo de la información, la eficiencia y tecnología específica; mientras que, en los negocios, la formalidad de los procesos y la reducción de costos. Por último, se utilizarán estrategias BTL y Marketing Digital como medio de mercadeo y posicionamiento. / The music industry in Peru has made significant progress both in the production and presentation of events, as well as in the use of various softwares that enhance musical shows. Despite this, the technical elements still have the same informality that surrounds the musical world that, added to the lack of knowledge in the technological aspect, can cause considerable cost overruns, despite their reversibility. The proposed scenario has prompted the creation of a business model that aims to develop and manage an automated system called Frodo, whose objective is to control the areas involved in live performance (technical elements) through the Ethernet cable and synchronization. that enables Timecode. The present system uses music production software called Ableton Live, which allows you to bring all the resources of a recording studio to live shows, together with the use of sound design. Likewise, the correct application of the information flow, regarding the connections within the system, plus the construction of racks, facilitates the linking of various elements on stage and the projection of images on real surfaces that videomapping provides. All this leads to two important contributions: in the musical part, there is the flow of information, efficiency and specific technology; while, in business, the formality of the processes and the reduction of costs. Finally, BTL and Digital Marketing strategies will be used as a means of marketing and positioning. / Trabajo de Suficiencia Profesional

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Mémoire en recherche-création ; Aide financière octroyée : CIRMMT Student Award / Les conditions d'utilisation de théories scientifiques au cours du processus de composition musicale et plus généralement pour l'élaboration de théories esthétiques musicales sont au coeur du travail proposé. Une position critique est tout d'abord avancée relativement aux nombreux écueils historiques relevés. Elle permet d'en dégager quelques pistes d'exploration pour les processus compositionnels que je me suis proposé de suivre au fur et à mesure des pièces électroacoustiques et mixtes présentées. En particulier, des spécificités empruntées aux mécanismes vibratoires non-linéaires, aux modèles sociologiques déterministes ou prédictifs sont injectés au sein même des processus de création des mes oeuvres. Cinq pièces sont présentées. Les thématiques et les contraintes occasionnées par les modèles empruntés sont décrits ainsi que les réalisations techniques qui leur ont servi de support. Chaque pièce présente donc une démarche et des outils technologiques et informatiques particuliers. Ces pistes exploratoires feront intervenir contrainte formelle, limitation du contrôle du compositeur, improvisation, traitement et spatialisation en temps réel et développements originaux implémentés en Max/MSP et en Python. Par ailleurs, un outil d'aide à la composition spatiale proposant une perspective inédite de visualisation du champs de pression produit par les trajectoires et par le système de reproduction virtuel, et développé pendant ma maîtrise est présenté. / The use of science theories during the compositionnal process, especially in a purpose of esthetical properties abstraction is questionned. First, a criticist point-of-vue is adressed, on the basis of several historical examples. A personnal method dedicated to the development of original compositionnal process were deduced. In particular, the specific mecanisms related to nonlinear vibrations and deterministic sociological model could be inserted into the creative processes. Five electroacoustic and contemporay music pieces are presented. Themes and constraints provoked by the model insertion are detailed. They gather form-contraints, control limitations, improvisation, real-time processing and real-time spatialization implemented in Max/MSP and Python. Moreover, a refined sound-field rendering tool dedicated to computer-assisted composition is introduced.