Live Electronics in Practice: Approaches to training professional performers

Abstract

Teaching live electronic music techniques to instrumental performers presents some interesting challenges. Whilst most higher music education institutions provide opportunities for composers to explore computer-based techniques for live audio processing, it is rare for performers to receive any formal training in live electronic music as part of their study. The first experience of live electronics for many performers is during final preparation for a concert. If a performer is to give a convincing musical interpretation ‘with’ and not simply ‘into’ the electronics, significant insight and preparation are required. At Birmingham Conservatoire we explored two distinct methods for teaching live electronics to performers between 2010 and 2012: training workshops aimed at groups of professional performers, and a curriculum pilot project aimed at augmenting undergraduate instrumental lessons. In this paper we present the details of these training methods followed by the qualitative results of specific case studies and a post-training survey. We discuss the survey results in the context of tacit knowledge gained through delivery of these programmes, and finally suggest recommendations and possibilities for future research.

Model Of Development The Musical Giftedness Of Schoolchildren In Computer Music Studio

“…The works of a number of domestic and foreign researchers is devoted to various aspects of the problem of schoolchildren being engaged to it. In particular, schoolchildren' musical development is studied in the process of this activity (Chosky, Abramson, Gillespie, Woods, & York 2001;Chung & Wu, 2017;Eilon, 2010;Fang, 2017;Krasilnikov, 2017;McCoid et al, 2013;Mednikov, 2002;Yan & Zhou, 2017); the development of pupils in traditional specializations using a computer (Bullock, Coccioli, Dooley, & Michailidis, 2013;Ouyang, 2016); pupils with visual impairments https: //doi.org/10.15405/epsbs.2019.09.02.53 Corresponding Author: Igor M. Krasilnikov Selection and peer-review under Gorbunova & Voronov, 2015); discusses the features of modeling musical creativity of schoolchildren on the basis of digital technologies (Gorbunova, 2017;Wu, 2016); attention is paid to rare types of musical creativity of pupils -for example, creating a sound landscape using a computer (Jeffery, 2010;Bullock et al, 2013) and others.…”

HarpCI, Empowering Performers to Control and Transform Harp Sounds in Live Performance

“…These are all powerful tools, with the ability to design complex systems to manipulate sound in performance. However, a disruptive musical experience can occur if the performer has a low level of familiarity with the technology, and the two become divergent (Bullock, Coccioli, Dooley & Michailidis, 2013). Introducing prosthetic elements such as pedals and sensors can exacerbate this problem (McNutt, 2003), presenting the performer with a sense of disconnection between physical action and sonic response.…”