ELECTRONICS AND LIVE PERFORMER PLUS
ELECTRONICS AND LIVE PERFORMER PROFESSIONAL

ELECTRONICS AND LIVE PERFORMER PROFESSIONAL

At Birmingham Conservatoire we explored two distinct methods for teaching live electronics to performers between 20: training workshops aimed at groups of professional performers, and a curriculum pilot project aimed at augmenting undergraduate instrumental lessons. If a performer is to give a convincing musical interpretation вЂwithвЂ™ and not simply вЂintoвЂ™ the electronics, significant insight and preparation are required. The first experience of live electronics for many performers is during final preparation for a concert. 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. Teaching live electronic music techniques to instrumental performers presents some interesting challenges. Live Electronics in Practice: Approaches to Training Professional Performers. Finally, a number of ideas will be proposed to be considered in the music school curriculums in order to prepare future musicians to play properly and with no frustration works with instruments and electronics.Bullock, Jamie Coccioli, Lamberto Dooley, James and Michailidis, Tychonas

As a result this analysis could work as guide for composer to illustrate and explain fully and simply the electronic part and the way the two can collaborate effectively. It explains shortly the way the piece uses the electronics and in more detail the way the score and the performance instructions provide enough information to a performer in order to practice and play the piece alone. The second part of the paper takes as a case study my work вЂHit the BeatвЂ™ for snaredrum and electronics (live and fixed). The analysis of the survey concludes to a mixture of high marks and the same time incapability to play a work with electronics. Then, the paper investigates the challenges face a performer when he/she has to collaborate with a composer during the composition process, practice at home alone, and perform at concert hall. They are not considered cases where the performer collaborates with the composer and researches in an institutional environment, or cases where ensembles or orchestras hire or have a person responsible for the electronic part.ДЄt the beginning of this research a large number of professional new music performers completed a questioner about their knowledge on computers, music technology, sound engineering, about the relative equipments they own like computer, keyboard, speakers, microphone and finally about their interest and will to program such a kind of works. What a performer should know to accomplish such a project? How far a performer can go and how much a composer can ask for? How much a concert hall can offer? The focus of this research is on works for one instrument and electronics. Are they ready to do so? A great deal of knowledge is required by a performer which at first looks like alien to what a performer is supposed to know.

ELECTRONICS AND LIVE PERFORMER PLUS

More and more today performers are asked to perform compositions for instrument plus electronics.

Performer vs Electronics: Performing Music For Instrument and Electronics.

Media and Contemporary Practices of Sound Art.

ISEA2011: 17th International Symposium on Electronic Art.

Filmmakers, Video Artists, and Animators.

Art, Electronic Theater or Performance Jury.

Electronics and live performer