Body as Instrument: Performing with Gestural Systems in Live Electronic Music PDF
Preview Body as Instrument: Performing with Gestural Systems in Live Electronic Music
Body as Instrument ii Body as Instrument Performing with Gestural Systems in Live Electronic Music Mary Mainsbridge BLOOMSBURY ACADEMIC Bloomsbury Publishing Inc 1385 Broadway, New York, NY 10018, USA 50 Bedford Square, London, WC1B 3DP, UK 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY ACADEMIC and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in the United States of America 2022 Copyright © Mary Mainsbridge, 2022 For legal purposes the Acknowledgements on p. ix constitute an extension of this copyright page. Cover design: Louise Dugdale Cover image © Dean Lewins All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Bloomsbury Publishing Inc does not have any control over, or responsibility for, any third-party websites referred to or in this book. All internet addresses given in this book were correct at the time of going to press. The author and publisher regret any inconvenience caused if addresses have changed or sites have ceased to exist, but can accept no responsibility for any such changes. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Names: Mainsbridge, Mary, author. Title: Body as instrument : performing with gestural systems in live electronic music / Mary Mainsbridge. Description: New York : Bloomsbury Academic, 2022. | Includes bibliographical references and index. | Summary: “Presents a range of design approaches for developing motion-controlled digital musical instruments that reflect performer perspectives and felt experience” – Provided by publisher. Identifiers: LCCN 2021040176 (print) | LCCN 2021040177 (ebook) | ISBN 9781501368547 (hardback) | ISBN 9781501369575 (paperback) | ISBN 9781501368554 (epub) | ISBN 9781501368561 (pdf) | ISBN 9781501368578 (ebook other) Subjects: LCSH: Electronic musical instruments–Construction. | Electronic musical instruments–Performance. | Gesture in music. | Motion detectors–Design and construction. | MIDI controllers. | Human-computer interaction. Classification: LCC ML1092 .M24 2022 (print) | LCC ML1092 (ebook) | DDC 786.7/1923–dc23 LC record available at https://lccn.loc.gov/2021040176 LC ebook record available at https://lccn.loc.gov/2021040177 ISBN: HB: 978-1-5013-6854-7 ePDF: 978-1-5013-6856-1 eBook: 978-1-5013-6855-4 Typeset by Newgen KnowledgeWorks Pvt. Ltd., Chennai, India To find out more about our authors and books visit www.bloomsbury.com and sign up for our newsletters. To Daniel and Nicholas vi Contents List of Figures viii Acknowledgements ix Introduction 1 Part 1 Invisible instruments 1 Gestural systems for musical performance 11 2 Design approaches 21 Part 2 Performer approaches 3 Laetitia Sonami 39 4 Atau Tanaka 55 5 Vocal and breath-based gestural systems 67 6 Pamela Z 73 7 Julie Wilson-Bokowiec 85 8 Lauren Sarah Hayes 97 9 Bent Leather Band 109 10 Design reflections 123 11 Mark Coniglio 125 12 Garth Paine 135 13 Intangible spaces 145 Part 3 Synergy and transformation 14 Expanding agency 171 15 Reimagining identity 181 References 193 Author Index 209 Subject Index 213 Figures 1 Laetitia Sonami and the lady’s glove 41 2 Laetitia Sonami and the Spring Spyre 46 3 Atau Tanaka at STEIM 57 4 Atau Tanaka performance 64 5 Pamela Z with BodySynth 74 6 Pamela Z with Mimn 75 7 Rehearsal for Etch 88 8 Performance schematic for Pythia: Delphine21 94 9 Lauren Sarah Hayes – prepared piano performance video still 99 10 Lauren Sarah Hayes – live performance set-up 104 11 LightHarp 112 12 LightHarp and Contra Monster on stage 119 13 Lucia Tong, Daniel Suominen and Robert Clark in 16 [R] evolutions 130 14 Troika Ranch performs loopdiver 132 15 Networked smartphones performing real-time sound synthesis for Future Perfect 138 16 Dr Garth Paine composing the ambisonic score for Future Perfect in Studio 1, IRCAM, Paris 139 17 Virtual string positions of the Telechord 150 18 Visual feedback of the Telechord 151 19 Visual feedback at Intangible Spaces (2018) performance, Vivid Sydney Festival 152 20 Intangible Spaces (2018) ensemble performance, Vivid Sydney Festival 155 21 Youbeme performance at Electrosocial exhibition with rear video projections by J. D. Young 157 Acknowledgements This book is shaped and inspired by artists, Laetitia Sonami, Atau Tanaka, Pamela Z, Julie Wilson-Bokowiec, Lauren Sarah Hayes, Stuart Favilla, Joanne Cannon, Mark Coniglio and Garth Paine, who generously shared their time, vision and unique insights during online interviews. I am grateful for the support and guidance of Senior Commissioning Editor, Leah Babb-Rosenfeld, of the Bloomsbury Music & Sound Studies series, Editorial Assistant, Rachel Moore, the Bloomsbury Academic production department, and the input of anonymous peer reviewers, whose detailed feedback assisted in clarifying the key concepts and underlying argument of the book. Denis Crowdy as a beta reader offered encouragement throughout the writing and revision process and invaluable suggestions regarding the organisation and articulation of ideas. The book gained form during Creative Ecologies Lab writing groups led by Julie-Anne Long, and through discussions with mentor, Julian Knowles and colleagues at the Department of Media, Communications, Creative Arts, Language and Literature at Macquarie University (MQ). Ethical clearance for the research was granted by the MQ Faculty of Arts Ethics Subcommittee. Funding for audio and computer equipment was provided by an MQ Research Infrastructure grant. I am deeply appreciative of photographers, Dean Lewins, Lori Eanes, and Goran Vejvoda who kindly contributed images, and J. D. Young, for his video art and graphics work with Deprogram, joining close musical collaborators, Robbie Mudrazija and Meeghan Oliver, in ensemble improvisations. The digital media and arts projects emerging from Creativity & Cognition Studios provide a context for this practice-based research, as do the contributions of the New Interfaces for Musical Expression (NIME) and Movement and Computing (MOCO) communities. I reserve eternal gratitude for my exceptional son, partner and parents.
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