Lugar:
Fechas: del 16 al 20 de julioProfesor: Andrew Stewart (Canadá)Horarios: de lunes a viernes de 10 a 2 y de 4 a 6Cantidad de horas: 30Viernes 20: presentación de trabajos de los alumnos
Este módulo será impartido en inglés
Presentation:
This course is designed to broaden participants’ knowledge of control surfaces for interactive computer music and computer-assisted music composition and to give participants a fundamental understanding of the similarities and differences between interaction and computer-assistance in musical contexts. In addition, participants will develop a gesture-based music performance/composition system in an effort to research new digital instrumentalities, create new performance paradigms and explore a potential for increased musical expressivity through technology.
Materials:
Recommended materials for this course are an Apple computer (OS 10.6 or later), Max/MSP (versions 5 or 6), audio synthesis software (e.g., Ableton Live, Logic Pro) and a control device (e.g., Wii remote, iPhone, Google Android, Xbox Kinect, MIDI control surface, small sensor components, custom-built device, etc.). The control device must be able to transmit data to a computer wirelessly (i.e., using the OSC protocol) or via a USB port, or through a standard MIDI interface. A MIDI keyboard or wind controller are a suitable control devices. However, participants are encouraged to choose a device that does not resemble a regular musical instrument. This requirements are optional and the teacher will have an assortment of sensors and will also guide the students in creating one instrument using all of the sensors.
When I say ONE instrument, this is something that could take many forms. Recently, I've used a wooden cone, a dummy head, or even a large wooden table – the table becomes the instrument, etc.
The final presentations would be the students playing the instrument together.
Class Schedule:
Session/Day 1:
Discussion topic:
-Interaction vs. computer-assisted composition
Workshop activity:
- Connecting your control surface
- Building a controller patch (Max/MSP)
Session/Day 2:
Discussion topic:
- Control surfaces: from controllers to digital musical instruments
Workshop activity:
- Designing mapping strategies
Session/Day 3:
Discussion topic:
- Computer-mediated performance techniques
Workshop activity:
- Developing your sound engine
- Building a synthesis patch
Session/Day 4:
Discussion topic:
- Stage presence and performance gesture
Workshop activity:
- Practicing your control surface
Session/Day 5:
Discussion topic:
Course presentations
Biografía del professor:
D. Andrew Stewart has been working in the field of music composition since 1994. Stewart is a composer, pianist, music theorist and digital musical instrumentalist. After developing his own sensor-suit in 2000, while living in Paris, he began pursing a career in live electronics – gesture-controlled – performance. Stewart has expertise in current and earlier digital instrumentalities (e.g. SonicJumper; T-Stick; Rulers; Buchla’s Lightning; JazzMutant Lemur; Méta-Instrument). Following postdoctoral research at Concordia University, Montreal, supported by a two-year research-creation scholarship from the Fonds québécois de la recherche sur la société et la culture, Stewart moved to Lethbridge, Canada, where he currently teaches music and digital audio art at the University of Lethbridge. His practise centres around three areas: combining acoustic instrument and digital instrument composition; establishing performance practises for digital instruments; developing class curricula that focus on student learning. Stewart’s work has been featured by: the Winnipeg Symphony Orchestra, Esprit Orchestra, Penderecki Quartet, Toronto New Music Concerts, Ensemble contemporain de Montréal +, musikFabrik, orkest de ereprijs, Ensamble 3 and ROSA Ensemble. His residencies include: the Casalmaggiore International Festival, Italy; the composers’ course in Radziejowicach, Poland (ISCM); the Tanglewood Music Center. In addition, he has contributed to the field of music technology research through his participation at: the International Conference on New Interfaces for Musical Expression, International Computer Music Conference / International Computer Music Association, Electroacoustic Music Studies Network, ACM SIGCHI Conference on Human Factors in Computing Systems, International Music-Gesture Conference, Society for Music Theory and the international Improvisation, Community, and Social Practice research project. D. Andrew Stewart’s educational background includes his time at the Conservatory of Music and Dance/Institute of Sonology in The Hague, Holland, where he completed post-graduate studies in composition with Louis Andriessen and Martijn Padding and also trained in electroacousitcs with Gilius van Bergeijk, Clarence Barlow and Paul Berg. Andrew Stewart also holds graduate degrees in music composition from The University of British Columbia and McGill University and has studied with John Rea, Sean Ferguson, Martin Matalon, Roger Reynolds, Christopher Rouse, Keith Hamel, Alexina Louis, Glen Buhr and Peter Hatch.
Cuota de recuperación:-Para asistir a 1 módulo el costo es de $2400 (un depósito de $1200 para apartar lugar y los $1200 restantes se pagarán en las oficinas del CMMAS antes de iniciar el curso). Si pagas antes del 8 de junio el costo se reduce a $2200 (un depósito de $1100 para apartar lugar y los $1100 restantes en las oficinas del CMMAS antes de iniciar el curso)
Para información sobre los pagos comunicarse con Silvana Casal a silvana@cmmas.org
