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Introduction
Innovation⇒ Music
Berio – THEMA
Nono – Donau
Music⇒ Innovation
Classics
4X
DX7
Spatialization
Open Problems
How
Problems
Solutions
Artistic Creation and Scientific Research KTH Stockholm, 14/12/2015 1 of 25
Artistic Creation and Scientific Research(rel.2166f66)
Nicola [email protected]
Conservatorio di Musica “S.Cecilia” – Roma
Kungliga Tekniska Hogskolan StockholmINTERAKTIONER 2015
Copyright c© 2015 Nicola Bernardini <[email protected]>This work comes under the terms of theCreative Commons c© BY-SA 2.5 license
(http://creativecommons.org/licenses/by-sa/2.5/)
Introduction
Innovation⇒ Music
Berio – THEMA
Nono – Donau
Music⇒ Innovation
Classics
4X
DX7
Spatialization
Open Problems
How
Problems
Solutions
Artistic Creation and Scientific Research KTH Stockholm, 14/12/2015 2 of 25
However much the growth of theorchestra has been the toy ofcircumstances, conditions, or themechanical or technicaldevelopment of instruments, thereal driving force behind suchevolution is after all the insistentlygrowing demand of musical art forfit means of expression.
Adam Carse,The History of Orchestration,
p.7 (1925)
Introduction
Innovation⇒ Music
Berio – THEMA
Nono – Donau
Music⇒ Innovation
Classics
4X
DX7
Spatialization
Open Problems
How
Problems
Solutions
Artistic Creation and Scientific Research KTH Stockholm, 14/12/2015 3 of 25
The relationship between Music andScientific/Technological Innovation
Commonplace: it is technology innovation that pushes theboundaries of musical expression
This is only partly true
In fact, two processes take place:1 Musicians use technological innovation once it is a robust
and solid reality and, all in all, not in a particularlyinnovative way
2 Musicians continuously express requests to technology(and – ultimately – to science) to be able to reach theirown expressive and aesthetic objectives
Introduction
Innovation⇒ Music
Berio – THEMA
Nono – Donau
Music⇒ Innovation
Classics
4X
DX7
Spatialization
Open Problems
How
Problems
Solutions
Artistic Creation and Scientific Research KTH Stockholm, 14/12/2015 4 of 25
Innovation ⇒ Music
Introduction
Innovation⇒ Music
Berio – THEMA
Nono – Donau
Music⇒ Innovation
Classics
4X
DX7
Spatialization
Open Problems
How
Problems
Solutions
Artistic Creation and Scientific Research KTH Stockholm, 14/12/2015 5 of 25
Luciano Berio – THEMA – Omaggio a Joyce (1958)
Blblblblooming:
A faster loop (higher note)A faster loop (lower note)A normal loop (nominal pitch)
Result:
Introduction
Innovation⇒ Music
Berio – THEMA
Nono – Donau
Music⇒ Innovation
Classics
4X
DX7
Spatialization
Open Problems
How
Problems
Solutions
Artistic Creation and Scientific Research KTH Stockholm, 14/12/2015 6 of 25
Luigi Nono – Post–Prae Ludium per Donau (1987) (1)
Introduction
Innovation⇒ Music
Berio – THEMA
Nono – Donau
Music⇒ Innovation
Classics
4X
DX7
Spatialization
Open Problems
How
Problems
Solutions
Artistic Creation and Scientific Research KTH Stockholm, 14/12/2015 7 of 25
Luigi Nono – Post–Prae Ludium per Donau (1987) (2)
ReverbHall 5"
Delay5"
Delay5"
Delay7"
Delay10"
Delay15"
Figure: Post–Prae Ludium per Donau, performance schema byAlvise Vidolin
Introduction
Innovation⇒ Music
Berio – THEMA
Nono – Donau
Music⇒ Innovation
Classics
4X
DX7
Spatialization
Open Problems
How
Problems
Solutions
Artistic Creation and Scientific Research KTH Stockholm, 14/12/2015 8 of 25
Music ⇒ Innovation
Introduction
Innovation⇒ Music
Berio – THEMA
Nono – Donau
Music⇒ Innovation
Classics
4X
DX7
Spatialization
Open Problems
How
Problems
Solutions
Artistic Creation and Scientific Research KTH Stockholm, 14/12/2015 9 of 25
A classical example of innovation stimulus
Richard Wagner, back to Germany
after his exile in 1861, settles in
Biebrich where Wilhelm Heckel,
the bassoon builder, lives. The
close relationship between
composer and instrument maker
will generate the Heckelphon
(which will be used later on by
Strauss in his Salome) and a
considerable improvement of the
contrabassoon (which will be used
in Parsifal).
Introduction
Innovation⇒ Music
Berio – THEMA
Nono – Donau
Music⇒ Innovation
Classics
4X
DX7
Spatialization
Open Problems
How
Problems
Solutions
Artistic Creation and Scientific Research KTH Stockholm, 14/12/2015 10 of 25
Berio, Di Giugno and the 4X
Berio invites at IRCAM the physicistGiuseppe Di Giugno asking him, in1976, a “synthesizer with 1000oscillators”. Such synthesizer (named4X) is finally ready in 1981. In themeantime, Berio is gone. However,the 4X will then be used in countlessmusic productions and will be finallyindustrialized by the aviation industryfor the sound simulation of Airbusjets.
Introduction
Innovation⇒ Music
Berio – THEMA
Nono – Donau
Music⇒ Innovation
Classics
4X
DX7
Spatialization
Open Problems
How
Problems
Solutions
Artistic Creation and Scientific Research KTH Stockholm, 14/12/2015 11 of 25
Chowning and the Yamaha DX7
American composer John Chowninggenerates complex sounds by meansof frequency modulation techniquesin ’67–’68 to compose his own works.This technique will be applied lateron in the commercial synthesizerYamaha DX7 which will revolutionizethe electronic music instrumentmarket at the beginning of the ’80es.
Introduction
Innovation⇒ Music
Berio – THEMA
Nono – Donau
Music⇒ Innovation
Classics
4X
DX7
Spatialization
Open Problems
How
Problems
Solutions
Artistic Creation and Scientific Research KTH Stockholm, 14/12/2015 12 of 25
Expressive spatializazion (1)
In 2002, italian composer Adriano Guarnieriasked a more expressive spatial rendering ofa trombone quartet within the performanceof his opera Medea. The problem wasstudied within the Centro di SonologiaComputazionale of the University of Padovaand an “expressive spatialization system”,unique in its genre, was created.
Introduction
Innovation⇒ Music
Berio – THEMA
Nono – Donau
Music⇒ Innovation
Classics
4X
DX7
Spatialization
Open Problems
How
Problems
Solutions
Artistic Creation and Scientific Research KTH Stockholm, 14/12/2015 13 of 25
Expressive spatialization (2)
Figure: Medea’s “expressive spatialization” system (Amalia deGotzen)
Introduction
Innovation⇒ Music
Berio – THEMA
Nono – Donau
Music⇒ Innovation
Classics
4X
DX7
Spatialization
Open Problems
How
Problems
Solutions
Artistic Creation and Scientific Research KTH Stockholm, 14/12/2015 14 of 25
Some examples of problems that are still open. . .
Introduction
Innovation⇒ Music
Berio – THEMA
Nono – Donau
Music⇒ Innovation
Classics
4X
DX7
Spatialization
Open Problems
How
Problems
Solutions
Artistic Creation and Scientific Research KTH Stockholm, 14/12/2015 15 of 25
Berio and Morphing
Berio was fascinated by the idea oftimbral morphing between oneinstrument and another
Failed experiment: Chemins V in 1980(withdrawn afterwards)
Better success: the introduction ofOfanim in 1989
Research continues on this topic. . .
Introduction
Innovation⇒ Music
Berio – THEMA
Nono – Donau
Music⇒ Innovation
Classics
4X
DX7
Spatialization
Open Problems
How
Problems
Solutions
Artistic Creation and Scientific Research KTH Stockholm, 14/12/2015 16 of 25
The scores of Adriano Guarnieri (1)
There are many “open issues”. . .
. . . a good example is provided by thescores of Adriano Guarnieri
Introduction
Innovation⇒ Music
Berio – THEMA
Nono – Donau
Music⇒ Innovation
Classics
4X
DX7
Spatialization
Open Problems
How
Problems
Solutions
Artistic Creation and Scientific Research KTH Stockholm, 14/12/2015 17 of 25
The scores of Adriano Guarnieri (2)
Figure: Passione secondo Matteo, Adriano Guarnieri (letter M)
Introduction
Innovation⇒ Music
Berio – THEMA
Nono – Donau
Music⇒ Innovation
Classics
4X
DX7
Spatialization
Open Problems
How
Problems
Solutions
Artistic Creation and Scientific Research KTH Stockholm, 14/12/2015 18 of 25
(The analysis of Heinrich Schenker)
Figure: Schenker – Analysis of the F Major Etude by FryderykChopin op.10 n.8
Introduction
Innovation⇒ Music
Berio – THEMA
Nono – Donau
Music⇒ Innovation
Classics
4X
DX7
Spatialization
Open Problems
How
Problems
Solutions
Artistic Creation and Scientific Research KTH Stockholm, 14/12/2015 19 of 25
Giacinto Scelsi’s tapes (1)
Italian composer Giacinto Scelsi(1905–1988) used magnetic recordingsas “sketchbooks” for hiscompositions. . .
To be able to understand hiscompositional trajectories provides aformidable challenge in the data miningfield
Introduction
Innovation⇒ Music
Berio – THEMA
Nono – Donau
Music⇒ Innovation
Classics
4X
DX7
Spatialization
Open Problems
How
Problems
Solutions
Artistic Creation and Scientific Research KTH Stockholm, 14/12/2015 20 of 25
Giacinto Scelsi’s tapes (2)
Introduction
Innovation⇒ Music
Berio – THEMA
Nono – Donau
Music⇒ Innovation
Classics
4X
DX7
Spatialization
Open Problems
How
Problems
Solutions
Artistic Creation and Scientific Research KTH Stockholm, 14/12/2015 21 of 25
Music Creation and Scientific Research – Problems
Music responds to aesthetic imperatives, while scienceresponds to rational categories
Generally, music is subject to pressing final deadlines,while research cannot, intrisically, guarantee its results
A composer is (generally) an autarchic figure, whileresearch is based on cooperation and sharing of results
Every contemporary musical language is stronglycharacterized and specific, while research must adoptuniversally recognized terminologies and notation
. . .
Introduction
Innovation⇒ Music
Berio – THEMA
Nono – Donau
Music⇒ Innovation
Classics
4X
DX7
Spatialization
Open Problems
How
Problems
Solutions
Artistic Creation and Scientific Research KTH Stockholm, 14/12/2015 22 of 25
Parallel Tracks, Environments e Middlemen
Music Composition and Scientific Research cannot andmust not depend strictly on each other: they must traveltogether on parallel tracks and occasionally go out of sync
The perfect setting for a meeting is not the conventionallab: it should be a mix between a lab, a studio, and alounge
It is a setting in which culture is created rather thanentertainement
Sometimes the meeting between composers and scientiststakes place with the help of middlemen – which“orchestrate” the actual meeting acting as translators
Introduction
Innovation⇒ Music
Berio – THEMA
Nono – Donau
Music⇒ Innovation
Classics
4X
DX7
Spatialization
Open Problems
How
Problems
Solutions
Artistic Creation and Scientific Research KTH Stockholm, 14/12/2015 23 of 25
How do we get to Scientific and TechnologicalInnovation? (1)
The journey from Music Creation to TechnologicalInnovation is still largely unexplored (implicit information)
Industry and economy should be concerned with theunderstanding of processes and modalities that may boostthe quality of innovation (not just incremental innovation,that is)
Introduction
Innovation⇒ Music
Berio – THEMA
Nono – Donau
Music⇒ Innovation
Classics
4X
DX7
Spatialization
Open Problems
How
Problems
Solutions
Artistic Creation and Scientific Research KTH Stockholm, 14/12/2015 24 of 25
How do we get to Scientific and TechnologicalInnovation? (2)
living labs which cobble music and research togethershould be widely experimented
conferences, symposia et al. where musicians mingle withscientists should be completely refactored
these “mixed” communities provide a nice investigationdomain for modern ethnography
Introduction
Innovation⇒ Music
Berio – THEMA
Nono – Donau
Music⇒ Innovation
Classics
4X
DX7
Spatialization
Open Problems
How
Problems
Solutions
Artistic Creation and Scientific Research KTH Stockholm, 14/12/2015 25 of 25
THE END
Thank you.
