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Detta examensarbete syftar till att utforska användningsmöjligheter för hybridtrummor i olika situationer genom imitation, komposition och improvisation. Under imitationsmomentet så har inlärning och utförandet av befintliga och komplexa trumkomp med hjälp av elektroniska redskap stått i fokus, vilket ställde höga krav på spelteknisk koordination och den grundläggande kunskapen om ljuddesign. Under kompositionsmomentet fick jag ta del av två nyskrivna låtar som båda saknade trumspår där min uppgift var att komponera innovativa trumkomp till musiken med hjälp av hybridtrummorna. På så vis utforskade jag på vilket sätt hybridtrummorna är ett användbart hjälpmedel i den kreativa skapandeprocessen av trumkomp. Med hjälp av de två tidigare momenten så avslutas detta arbete genom att undersöka huruvida hybridtrummorna är ett effektivt redskap under improvisation och om elektroniska redskap kan bredda min vokabulär och öppna upp till fler musikaliska valmöjligheter då jag improviserar.  För att utföra dessa moment har jag använt mig av teknologi som en Roland SPD-sx samplingsplatta samt ett flertal triggers för att förena mitt akustiska trumset med elektroniska sounds. Detta arbete ställde högre krav på de speltekniska svårigheterna än vad jag hade väntat mig. Detta har lett till en förbättrad koordination men också en positiv utveckling i plankning och utförande av avancerade trumkomp. Om dessa modifieringar är avgörande eller nödvändiga för framtidens trumslagare har jag inga svar på, men för mig har detta arbete varit en bra väg för att ta mitt slagverkande till en ny nivå.

Submitted by Ricardo Bigio Calado null (ricardo.bigio@gmail.com) on 2017-09-11T22:24:28Z No. of bitstreams: 1 A PREPARAÇÃO DA PERFORMANCE DO CONTRABAIXO ACÚSTICO E LIVE ELECTRONICS.pdf: 2603622 bytes, checksum: af0f9a3408d2659275cdd6f12aa4e15c (MD5) / Approved for entry into archive by Monique Sasaki (sayumi_sasaki@hotmail.com) on 2017-09-12T17:28:29Z (GMT) No. of bitstreams: 1 calado_rb_me_ia.pdf: 2603622 bytes, checksum: af0f9a3408d2659275cdd6f12aa4e15c (MD5) / Made available in DSpace on 2017-09-12T17:28:29Z (GMT). No. of bitstreams: 1 calado_rb_me_ia.pdf: 2603622 bytes, checksum: af0f9a3408d2659275cdd6f12aa4e15c (MD5) Previous issue date: 2017-08-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho discute a preparação para a performance do contrabaixo numa relação com dispositivos computacionais de interação em tempo real, dentro de vertentes conhecidas como Live Electronics e Live Looping. Para tal discussão foi utilizado o programa Ableton Live, desenvolvido na Alemanha em 1999, que atualmente constitui ferramenta de produção musical amplamente utilizada em performances ao vivo e em estúdio. O objetivo geral deste trabalho é discutir possibilidades de utilização do programa Ableton Live como ferramenta na preparação e realização da performance ao contrabaixo bem como a interação entre o músico e o computador, de forma a propor estratégias de preparação da performance do contrabaixo com Live Electronics e Live Looping. A discussão enfatiza o papel do performer, bem como aspectos relacionados à performance musical do contrabaixo acústico neste contexto. O trabalho está organizado em 4 partes principais: 1) Revisão da Literatura sobre questões organizacionais, técnico-interpretativas; aspectos psicológicos, abordagens sobre a musicalidade e expressividade; conceitos de Hiperinstrumento, técnica estendida e a relação compositor-intérprete; 2) Apresentação dos objetos de estudo - recursos de execução do contrabaixo na contemporaneidade; breve histórico sobre Live Electronics e aspectos básicos de funcionamento do programa utilizado; 3) um relato de experiência sobre a preparação de um recital de contrabaixo e piano que utilizou o sistema computacional como parte fundamental das estratégias de preparação da performance; e 4) O processo de preparação para a performance, a relação entre compositor e intérprete, aspectos da improvisação musical e uma reflexão sobre técnicas estendidas do instrumento em duas obras: BASS COLORS (para contrabaixo, Live Electronics e vídeo) de Ricardo Bigio e TICKER TAPE (para contrabaixo e Ableton Live) de Robert Matheson. A discussão evidenciou que estratégias de preparação da performance do contrabaixo com Live Electronics e Live Looping utilizando o programa Ableton Live são pertinentes e úteis para o avanço das possibilidades de criação (composição e performance) no contrabaixo. / This paper discusses the preparation for a contrabass performance related to real-time interaction computing devices, within known strands like Live Electronics and Live Looping. The software chosen to work was Ableton Live, developed in Germany in 1999, widely used for music production and live performances and in studio. The general objective of this work is to discuss possibilities of using the Ableton Live program as a tool in the preparation and performance of the double bass as well as an interaction between the musician and the computer, to propose a strategy for the preparation of double bass performance with Live Electronics and Live Looping. The discussion emphasizes the role of the performer as well as related to the musical performance of the acoustic bass in context. The work is organized in 4 main parts: 1) Literature review on normative issues, technical-interpretative, psychological questions and approaches on musicality and expressivity; on concepts of Hyper instrument, extended technique and the relation composer-interpreter; 2) Presentation of the objects of study - resources of execution of the contrabass in the contemporaneity; Brief history on live electronics and basic program operating features; 3) an experience report on the preparation of a double bass and piano recital that uses the computer system as a fundamental part of the performance preparation strategy; 4) The process of preparation for a performance, the relationship between composer and performer, musical improvisation and a reflection on the techniques of assembling two works: BASS COLORS (for bass, Live Electronics and video) by Ricardo Bigio and TICKER TAPE (For double bass and Ableton Live) by Robert Matheson. The discussion has shown that the bass performance strategy with Live Electronics and Live Looping, the Ableton Live program, are important for advancing the possibilities of creation (composition and performance) of the double bass.

No description available.

Ce mémoire présente l’élaboration d’une guitare augmentée et différentes techniques de traitement électroacoustique dans le but d’étendre mon langage compositionnel. Trois œuvres ont été composées et j’ai conçu différents systèmes de traitement et de générations sonores basés sur des dispositifs électroniques et informatiques. Les systèmes électroniques sont formés de différents capteurs et émetteurs sur l’instrument afin de permettre de nouvelles techniques de jeu. Ces systèmes comportent des capteurs piézoélectriques, de pressions, de mouvements et de capacitance. De plus, un système d’entretien continu sous les cordes a été fabriqué. Des logiciels ont été spécialement conçus pour l’instrument en plus d’un micrologiciel pour le microcontrôleur intégré à celui-ci. Ce dernier recueille et convertit les données des différents capteurs pour les transmettre à l’ordinateur en plus de contrôler directement le système d’entretien des cordes. Les logiciels sont contrôlés par les données des différents capteurs et sont utilisés pour déclencher des trames fixes et traiter le son de l’instrument par des algorithmes de traitement du son. / This paper presents the development of an augmented guitar combined with different electroacoustic techniques in order to expand my compositional language. Three works were composed in addition to the processes involved in their production like the design of different processing and sound generation systems based on electronic and computer devices. Electronic systems are built with different sensors and transmitters on the instrument in order to allow new and unconventional playing techniques. These are piezoelectric, pressure, movement and capacitance sensors. A hexaphonic magnetic string sustainer system was implemented below the strings. The computer systems consists of specially designed softwares for the instrument, as well as firmware for its integrated microcontroller. The firmware collects and converts the data from the various sensors and transmits it to the computer in addition to directly controlling the sustainer system. As for the softwares, it was developped to control the various sensors and to initiate the playback of samples. It also integrates the sound processing algorithms.

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Cette thèse présente la démarche compositionnelle relative à six œuvres de musique mixte interactive pour hyper-flûtes, soit des flûtes traversières munies de capteurs gestuels électroniques reliés à un ordinateur. Le jeu instrumental est ainsi augmenté par des composantes électroacoustiques qui peuvent être contrôlées par l’interprète. Une grande partie de cet ouvrage est consacrée à la recherche autour de ces œuvres. On peut y lire un bref historique de la musique mixte qui souligne l'apport de la flûte à la musique électroacoustique. On se penche sur les défis de synchronisation du son instrumental et électronique auxquels font face les compositeurs depuis les années 1950, pour ensuite déterminer en quoi consiste la composition interactive. Après avoir défini la notion de geste instrumental, en particulier en ce qui concerne le jeu de la flûte traversière, on aborde les détails de la lutherie électronique de l’hyper-flûte et de l’hyper-flûte-basse. Ces descriptions techniques sont précédées de commentaires sur différents instruments augmentés et spécifiquement sur les différentes flûtes connues. Cette partie se termine par un exposé concernant l’interaction et les stratégies de mappage des données gestuelles vers les correspondances sonores. La suite est consacrée aux compositions. On peut d’abord y lire mon point de vue sur la composition interactive et l’improvisation. Six chapitres décrivent ensuite en détail chacune des œuvres. On y présente les sources d’inspiration et une analyse formelle sommaire de chaque pièce, puis on élabore sur les composantes instrumentales et électroacoustiques, en explicitant les types d’interactions utilisés. Soulignons que quatre de ces œuvres ont été élaborées autour de textes poétiques. Finalement, une courte conclusion résume les objectifs artistiques réalisés dans le cadre de ce doctorat et les pistes envisagées pour la poursuite de mon travail créateur avec les hyper-flûtes. / This dissertation presents the compositional processes of six pieces with live interactive electronics for hyper-flutes: flutes equipped with electronic motion sensors connected to a computer. Instrumental techniques are thus augmented by electroacoustic components that can be controlled by the performer. A significant portion of this document is focussed on the research framing these works. A brief history of «musique mixte» is presented, underlining the contribution of the flute to electroacoustic music. The challenges associated with the synchronization of instrumental and electronic sounds with which composers have been faced since the 1950’s are then addressed, providing the context for establishing the essential nature of interactive composition. After having defined the notion of instrumental gesture, particularly as it concerns flute techniques, details of the electronic design of the hyper-flute and the hyper-bass-flute are considered. The descriptions of these techniques are prefaced by observations about other augmented instruments and more specifically the different known flutes. This part concludes with a presentation of the interaction and mapping strategies of gestural data as it relates to the corresponding audio elements. The sections that follow focus attention on the compositions. I begin by elaborating my own perspective on interactive composition and improvisation. Six chapters then provide detailed descriptions of each of the pieces, starting with the sources of inspiration and a brief formal analysis. I go on to explain their instrumental and electroacoustic components, detailing the types of interactions used. Of particular note is the fact that four of these works were developed based on poetic texts. Lastly, a short conclusion summarizes the artistic objectives realized during my doctoral tenure as well as the potential opportunities for the continuation of my creative work with the hyper-flutes.