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- W2029562790 abstract "Electronic technology affects and can contribute to all aspects of music making. In particular, it reveals that instrument building, composing, and performing, while remaining different activities, share a common concern for physical form. At first sight, the user of a technological work station environment is faced with the absence of concrete objects-there are synthesizer patches instead of instrument bodies, programs instead of musical scores, and movement without contact or effort replacing instrumental gestures. It is precisely this physical absence that is naturally compensated for in music by reintroducing a concern for body, gesture, and space. The electronic music performer can deal with gesture and position detectors that lack inherent acoustical properties and the long tradition of instrumental practice. Holding a violin, for example, will not only condition the performer's gestures (one is supposed to act as a violinist when holding a violin), but the violin by itself on a table will still sound like a violin, whatever its stimulus. With the electronic instrument, sound and musical discourse are unified and internalized in the performer's body; the body itself becomes instrument, sound, and music. We are now far removed from the concept of the instrumentalist as triggering actor, which is so deeply anchored in people's minds that it is still the basis for most so-called performance electronics applications (Francois, Chabot, and Silber 1987). Now the performance itself is composed; with electronic instruments it is no longer possible to write an instrument name such as flute on a score part and assume a performance practice characteristic of the instrument. Composition now becomes a performance; it is the fruit of interactions and experiments with performers, programmers, machines, and software environments. Creation becomes experiencing. Conversely, performance becomes a compositional act because of the structuring quality of gesture and space. A gesture is itself a structure, while space has a natural topology (Greimas 1968). Physical form and its instrumentation offer a means not only of elaborating forms and materials but also of constant interrogation and creation. Electronic instruments challenge music making because they are elaborating through an intermediary-the explicit transliteration of gesture into sound. In my opinion, this is the main problem that we must address today in the philosophy of performance." @default.
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- W2029562790 date "1990-01-01" @default.
- W2029562790 modified "2023-09-25" @default.
- W2029562790 title "Gesture Interfaces and a Software Toolkit for Performance with Electronics" @default.
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- W2029562790 doi "https://doi.org/10.2307/3679708" @default.
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