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Andrew Blackburn Organ and Realtime DSP PDF

256 Pages·2011·18.57 MB·English
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The Pipe Organ and Realtime Digital Signal Processing - Blackburn p 1 of 256 The pipe organ and real-time digital signal processing (DSP): A performer’s perspective Queensland Conservatorium, Arts, Education and Law Group Griffith University Andrew Blackburn Dip Ed., M Mus (Melb) August 2011 Submitted in fulfillment of the requirements of the degree of Doctor of Musical Arts - Queensland Conservatorium Griffith University The Pipe Organ and Realtime Digital Signal Processing - Blackburn p 2 of 256 Abstract The emergence of music for organ and realtime digital signal processing (dsp) has signalled major changes to the very nature and structure of music for the instrument, dramatically expanding its idiom and timbral malleability. It has also created new performance practices which mark substantial shifts in the relationship of the organist with the music, the instrument, and with co-performers. Finally, a new 'performative space' is emerging through organ and realtime dsp in concert situations, creating a sonic relocation of the instrument and enabling new audience experiences. This DMA examines organ and realtime digital signal processing (dsp) from a performer’s perspective. After tracing the history of the organ as an instrument at the forefront of musical innovation since the 1400s, it focuses on rapid developments over the past fifty years, leading to organ and dsp as a logical next step in the development and repertoire of the instrument. From there, the study revolves around the performance of four contemporary works for pipe organ with realtime dsp, contributing to understanding the performance practices this combination requires. Emphasising the experience of the organist facilitates reflection on the impact of changes brought about by dsp on the practice of a contemporary organist and his collaborators. In this way, this practice-led research project is able to focus on ‘real- world’ issues and insights that emerged and morphed during workshops and performances. Triangulating the findings of a literature review, interviews, workshops, and the series of performances, identifies major shifts in organ timbre, composition, performance practice and reception. The format of the submission, on DVD ROM, highlights the close connection between practice and reflection, between sounds and words. In doing so, it aims to add to the practice and understanding of the organ and its continuing role in innovative composition and performance. Keywords: music, pipe organ, electronics, digital signal processing, realtime, history, avant- garde, performance, practice based research, Pertout, Harvey, Everett, Uijlenhoet, Messiaen, Ligeti This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. Signed Andrew Blackburn The Pipe Organ and Realtime Digital Signal Processing - Blackburn p 3 of 256 Table of Contents List of Figures 8 List of Tables 9 List of Videos 9 Acknowledgements 11 Section 1 12 Chapter 1: Rationale, background and research questions 12 1 Prelude 12 2 Brief Background 15 History! 16 Terminology! 17 3 Research questions, approach and format of this submission 18 Chapter 2 Methodology 21 Artistic Practice as Research! 22 Using score-based works! 26 A triple helix – the process 27 Strand 1! 28 Strand II! 32 Strand III! 34 The Research Projects 34 1 Workshops! 34 2 Performance demonstrations! 35 3 Performances! 36 Section 2 38 Chapter 3 History of the pipe organ at the forefront of innovation 38 Introduction 38 A Definition of Avant-Garde 39 Pre-Twentieth Century ‘Avant-Garde’ Organ Music 43 The Pipe Organ and Realtime Digital Signal Processing - Blackburn p 4 of 256 Later development of the organ 50 Twentieth Century Developments 56 Reflections 61 Chapter 4 Ligeti's Volumina and Deux Études 65 Introduction 65 Volumina – György Ligeti (1962-3 rev 1967) 66 Deux Études (1967 & 1969) 73 Further Reflections 76 Chapter 5 Acoustic pipe organ music from 1970 79 Playing Techniques 82 Keyboard Techniques 82 Stop Changing 82 Instrumental sounds and amplification 83 Dynamic wind adjustments 83 Tempo 85 Chapter 6 The beginnings of pipe organ and digital signal processing 86 Introduction 86 History of pipe organ and realtime dsp 87 Section 3 Four works for organ and live dsp 92 Introduction to Section 3 92 Chapter 7 Dialogo Sopra i Due Sistemi – René Uijlenhoet 96 Introduction 96 Challenges 98 Notation 99 Structure 100 Technology 102 Performative Practices 110 The Pipe Organ and Realtime Digital Signal Processing - Blackburn p 5 of 256 Organist actions and interactions 110 The changing role of organist as performer. 112 Chapter 8 Vanitas 2005 – Steve Everett 113 Notation 115 Form 116 Technology 119 Registration 121 Performative Practices 122 Organist and technologist interactions. 122 Reflections 123 Chapter 9 Symétrie Intégrante 2007 – Andrian Pertout 132 Technology 141 Preparation for Performance: 143 Landy’s Tools 149 Reflections 151 Chapter 10 Eight Panels - Lawrence Harvey 156 Introduction 156 Notation 159 Structure 160 Landy's Compositional Parameter Matrix – Eight Panels 167 Reflections 168 Chapter 11 Findings and Reflections 171 Introduction! 171 I. The history, nature and structure of organ music and dsp 172 Key characteristics of the four works! 174 II. Changes in the organist’s performance practice and collaborations 180 The relationship between the organist and technologist! 185 The Pipe Organ and Realtime Digital Signal Processing - Blackburn p 6 of 256 III. Performance Space and Sonic Re-location 189 IV. Recommendations for future research and development 192 Finale 193 Glossary of terms and definitions 195 Appendices 199 Appendix 1 199 2nd Interview with Hans-Ola Ericsson May3, 2011 199 Appendix 2 - Composition notes 202 Composer’s notes Vanitas Steve Everett (2005) 206 Composer’s comments Symétrie Intégrante - Andrian Pertout (2007) 207 Appendix 3 - 213 Learning to perform with organ and realtime dsp - organs and workshops 213 Appendix 4 - recent and current performers of organ and real time dsp 218 Appendix 5 - Specifications of organs used in this research project 218 Melbourne Town Hall 218 Toorak Uniting Church 222 Queensland Conservatorium Griffith University - Basil Jones Orchestral Hall 223 Appendix 6 - Questions and Transcripts of interviews etc 224 Interview Questions for Prof Hans-Ola Ericsson and Gary Verkade: 224 Appendix 7 programmes of performances Brisbane 2008 and Melbourne 2010 and research questions of workshop 2. 227 13h-1 Research questions of 2nd workshop 227 Research Project 2 May 24 - 28 2010. 227 Appendix 8 Bengt Hambraeus on first Volumina performance 230 Appendix 9 231 Appendix 10 232 The Pipe Organ and Realtime Digital Signal Processing - Blackburn p 7 of 256 Jean Penny: A Flautist’s Perspective of Andrian Pertout’s Symétrie Intégrante 232 Appendix 11 235 Photos of microphones in organ at Toorak 235 Appendix 12 236 Diagrams of performance and speaker layouts 236 Appendix 13 241 14 Bibliography 246 The Pipe Organ and Realtime Digital Signal Processing - Blackburn p 8 of 256 List of Figures Figure 1 Ian Wakeley pipe organ (2005) Figure 1a Ian Wakeley pipe organ (2005) (blower detail) Figure 2a Outline of submission sections Figure 2b Mind Map of Methodology Figure 3 Strands of research methodology - a triple helix Figure 4 Codex Faenza (Excerpt) Figure 5 Schlick Ascendo ad Patrem Meum Bars 1 - 6 Figure 6 Programme of launch of Melbourne Town Hall Organ 1879 Figure 7 Liszt Fantasia on B.A.C.H Bars 230 - 248 Figure 8 Liszt Fantasia on B.A.C.H Fugue subject Bars 89 - 100 Figure 9 Tournemire L’Orgue Mystique Third Sunday of Advent II Figure 10 Messiaen La Nativité du Seigneur La Vierge et L’Enfant Bars 1 - 2 Figure 11 Messiaen Livre de Sacrement Registration Figure 12 Ligeti Volumina Section 13 - 14 Figure 13 Ligeti Harmonies B 32 - 39 Figure 14 Ligeti Coulée B166 - 169 Figure 15 Ligeti Coulée B180 - 183 Figure 16 Widor Symphonie V Toccata (B 7 - 9) Figure 17 Messiaen La Nativité du Seigneur Dieu Parmi Nous Bars 69 - 72 Figure 18 Uijlenhoet Dialogo sopra i due sistemi Bars168 - 170 Figure 19 Uijlenhoet Dialogo sopra i due sistemi UI SuperCollider (screenshot) Figure 20 Uijlenhoet Dialogo sopra i due sistemi SuperCollider Scene 8 Figure 21 Uijlenhoet Dialogo sopra i due sistemi SuperCollider Scene 25 Figure 22 Uijlenhoet Dialogo sopra i due sistemi Bars 77 - 81 Figure 23 Uijlenhoet Dialogo sopra i due sistemi Bars 88 - 102 Figure 24 Phillipe Le Pischna Preparatoire Exercise 16 Figure 25 Claesz Vanitas Figure 26 Braque Violin and Candlestick Figure 27 Everett Vanitas Bars 69 - 71 Figure 28 Everett Vanitas Bars 106 - 111 Figure 29 Pertout Symétrie Intégrante P4 Figure 30 Harvey Eight Panels Panel 1 Figure 31 Harvey Eight Panels Panel 4 The Pipe Organ and Realtime Digital Signal Processing - Blackburn p 9 of 256 List of Tables Table 1 Organ timeline Table 2 Dialogo i Due Sistemi - Structural Table Table 3 Dialogo i Due Sistemi - Matrix Table 4 Vanitas - Registration Plan Table 5 Vanitas - Matrix Table 6 Symétrie Intégrante - Structural Table Table 7 Symétrie Intégrante - Matrix Table 8 Eight Panels - Matrix Table 9 Comparative Matrix of all works List of Videos Video 1 Verkade - Interview Video 2 Verkade - Interview Video 3 Ericsson - Interview Video 4 Ericsson - Interview Video 5 Verkade - Interview Video 6 Messiaen La Nativité du Seigneur La Vierge et L’Enfant Bars 1 - 2 Audio (Andrew Blackburn Organist) Video 7 Ligeti Volumina end Audio (Andrew Blackburn Organist) Video 8 Ligeti Volumina Section 14 - 15 Audio (Andrew Blackburn Organist) Video 9 Ligeti Harmonies B 32 - 39 (Andrew Blackburn Organist) Video 10 Montague Behold a Pale Horse Performance excerpt (Andrew Blackburn Organist) Video 11 Verkade - Interview Video 12 Burt - Interview Video 13 Everett - Interview Video 14 Ericsson - Interview Video 15 Everett - Interview Video 16 Everett Introduction to Vanitas Performance 2010 Video 17 Everett Vanitas Complete Performance (2010) Performed Andrew Blackburn (organ) Steve Everett (Electronics) Toorak May 2010 Video 18 Everett Vanitas Performance (2010) Performed Andrew Blackburn (organ) Steve Everett (Electronics) Toorak May 2010 B 24 - 29 Video 19 Everett Vanitas Performance (2010) Performed Andrew Blackburn (organ) Steve Everett (Electronics) Toorak May 2010 B 108 - 111 Video 21 Everett Vanitas (Excerpt) Performed Randall Harlow (organ) Steve Everett (Electronics) Atlanta 2005 Video 22 Everett Vanitas (Excerpt) Performed Andrew Blackburn (organ) Steve Everett (Electronics) Toorak May 2010 Video 23 Everett Vanitas (Rehearsal) Performed Andrew Blackburn (organ) Steve Everett (Electronics) Toorak May 2010 Bars 5 - 8 Video 25 Pertout introduction to the Toorak Performance of Symétrie Intégrante May 2010 Video 26a Pertout Symétrie Intégrante First Performance, Melbourne Town Hall July 2007 The Pipe Organ and Realtime Digital Signal Processing - Blackburn p 10 of 256 Video 26b Pertout Symétrie Intégrante Performance, Neil St Uniting Church, Ballarat, January 2010 Video 26c Pertout Symétrie Intégrante Performance, Toorak, May 2010 Video 27 Harvey introduction to the Toorak Performance of Eight Panels May 2010 Video 28a Harvey Eight Panels Performance Melbourne Town Hall October 2007 Video 28b Harvey Eight Panels Performance Toorak May 2010 Video 29 Ericsson - Interview

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of four contemporary works for pipe organ with realtime dsp, contributing to . Video 16. Everett Introduction to Vanitas Performance 2010. Video 17.
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