Issues in instrumental design: The ontological problem (opportunity?) of ‘liveness’ for a laptop ensemble

Abstract

Through the recent work of Manchester Metropolitan University laptop ensemble (MMUle),1 this article will explore issues in new instrumental design for ‘live’ performance. For MMUle, the intimacy of the interaction between human and machine is exposed through ‘live’ performance and this has resulted in the relationship between musician and machine being in a process of constant negotiation. Subsequently, this article will consider some of the technical approaches and performance strategies MMUle has developed in an attempt to better interact with technology through the design of new instruments for musical performance. It will consider the relationship between the musician and the computer as musical instrument; it will consider the causal relationship between performative action and resulting sound, which has remained an issue for some spectators of music laptop performances and will explore this in light of MMUle’s approach to expand the affordance of the laptop computer in relation to its musical and performative potential; and some consideration will be given to the use of interface devices such as the computer program MaxMSP, the games controllers X-box and Wii, and the human body as MMUle attempt to interact with machines. The article will discuss some of the implications and applications of developing new software instruments for performance and this will be explored through two pathways to ‘liveness’: performance as a constructed ‘live’ event and ‘liveness’ considered as part of a creative strategy.

Rethinking the musical ensemble: A model for collaborative learning in higher education music technology

“…Blain (2013) also problematizes the nature of performance when working collaboratively with laptops as instruments. The issues raised in these studies converge with broader areas of research in music technology such as the development of new interfaces for musical expression and the performance practice of electronic music.…”

“…A number of existing reference points for performance are problematic for a laptop ensemble (see Blain 2013).…”

“…Here, 'liminal meeting points' or points of correspondence may be recognized (Blain 2013 But dialogue does not only exist in spoken form. Part of the process of establishing a Kudac culture is about learning the individual's musical identity (or sonic proclivity).…”