Multiple Paths: Towards a Performance Practice in Computer Music

Juan Parra

This research project proposes multiple paths towards the development of a performance practice in computer music. It starts with the author’s transition from traditional instrumentalist to electronic musician, assessing the roles of composer, performer and instrument builder as integrated in computer music practice. Three of the case studies presented in this thesis suggest approaches to understand the notion of interpretation with electronic instruments, introducing the methods of reconstruction, reinterpretation and re-appropriation as applied to the performance of music by Cage, Feldman and Nono. The remaining five case studies deal with the author’s own creations, developed on the basis of concepts such as mapping, sonification, historical contextualisation and spatialisation, and informed by the multithreaded role of the computer music practitioner. The situation of the performer of electronic instruments in relation to traditional instrumentalists is a topic of consideration throughout this thesis, informing the final conclusions as well as refuelling the questioning for future work. ---- Thesis information (in Dutch): Proefschrift ter verkrijging van de graad van Doctor aan de Universiteit Leiden op gezag van Rector Magnificus prof. mr. C.J.J.M. Stolker, volgens besluit van het College voor Promoties te verdedigen op dinsdag 2 december 2014 klokke 16.15 uur door Juan Parra Cancino geboren te Osorno (CL) in 1979 Promotiecommissie Prof. Frans de Ruiter 1e promotor Prof. Richard Barrett 2e promotor Dr. Marcel Cobussen co-promotor Prof. Clarence Barlow Prof. Dr. Nicolas Collins School of the Art Institute of Chicago Prof. Dr. Simon Emmerson Leicester Media School, De Montfort University Dr. Vincent Meelberg Prof. Dr. Larry Polansky University of California, Santa Cruz Dit proefschrift is geschreven als een gedeeltelijke vervulling van de vereisten voor het doctoraatsprogramma docARTES. De overblijvende vereiste bestaat uit een demonstratie van de onderzoeksresultaten in de vorm van een artistieke presentatie. Het docARTES programma is georganiseerd door het Orpheus Instituut te Gent. In samenwerking met de Universiteit Leiden, de Hogeschool der Kunsten Den Haag, het Conservatorium van Amsterdam, de Katholieke Universiteit Leuven en het Lemmensinstituut.

On Interpretation Paths

During my research trajectory towards a performance practice in computer music, as a composer and a performer I have constantly dealt with the problem of roles. By this I mean the understanding that computer music practice demands that practitioners merge or blend in one person the roles of composer, performer and instrument builder/technician. At present there is almost no tradition of computer music practitioners trained or focused on interpretation of live electronic repertoire. Composers often become the performers of their own works; therefore, they become logistically bound to the presentation of their own music in front of an audience.

In addition to this many of these composer/performers also became the designers and builders of the instruments they were playing. Facilitating the creation and performance of works dealing with electronic instruments from the position of the interpreter was my initial motivation to develop a performance practice, and consequently, an interpretation practice where I could put my technical and musical skills at the service of others.

The development of interpretative skills brings with it the inherent challenge of searching for suitable repertoire that either explicitly demands the expertise of a computer performer in charge of the electronic media component of the piece, or presents a potential for such a musician to contribute his or her skills to the performance of music not written for electronic instruments.

I will present three case studies serving different initial needs and skills, detailing occasions on which I became familiar with and helped develop performance tools and techniques. Each of these case studies responds to a different approach for understanding the notion of interpretation: I have called these three categories reconstruction, reinterpretation and re-appropriation, depending on the degree to which the traditional notion of music interpretation was challenged. These categories are connected to the three sets of skills inherent to my understanding of the figure of the electronic musician (composer, performer and instrument builder) and how these skills are initially better suited to address the performative task.

The three case studies are:

- Luigi Nono’s A Pierre. Dell'azzurro silenzio, inquietum and Post-prae-ludium nr. 1 per Donau, dealing with interpretation as reconstruction, starting from the skill set of the computer music performer as technician/instrument builder.

- John Cage’s Aria/Fontana Mix dealing with interpretation as reinterpretation, starting from the skill set of the computer music performer as a performer, recovering a pre-existent performance practice.

- Morton Feldman’s The King of Denmark, dealing with interpretation as re-appropriation, starting from the skill set of the computer music performer as composer, informing music interpretation.

These case studies served as antecedents to my own compositions developed within the framework of this research trajectory.

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