Composing the Output Interface
Composing the Output Interface
Brad Garton, Mara Helmuth
Music Department; 709 Dodge Hall
Columbia University
New York, NY 10027
brad@woof.columbia.edu, mara@woof.columbia.edu
The presentation of computer music raises a host of interesting issues
concerning the social and cultural context for music-presentation in general:
What exactly is a performance? Why are concerts structured the way they are?
What is the contemporary relationship between a composer/performer and an
audience? Consideration of these issues is particularly pointed for computer
music practitioners because the traditional "concert hall" paradigm is often at
odds with new structures and musical functions embraced by computer
musicians. This paper will discuss several approaches to musical presentation
we have tried at Columbia during the past few years, and will explore some
speculations about future contexts for music in our culture.
Imagine the worst of a concert. Think about the audience: Physically
constrained by
social convention, they must sit passively (usually uncomfortably) in semi-
darkness while
awaiting cultural enlightenment. Think about the performers: The psychical
distance
between them and the audience is made manifest by an actual separation; an
isolation of
space which turns serious musical art into a spectator sport. Think about the
composer:
His or her vision dictates unequivocally the flow of the evening. The composer's
voice
becomes the oracle through which the unwashed and unenlightened listeners
receive
absolution. The evening often becomes a battle of wills -- the composer's
intentions vs.
the performer's interpretations, the technical skill of the performer vs. the
technical
difficulty of the performance. Ancient athletic gladiator games seem a valid
simile, with
the major difference being the inability of the concert audience to cheer at the
appropriate
places.
Consider the social structures surrounding a concert. The class/caste system is
still very
much the norm for "mainstream" concerts. The best seats go to those with the
most
economic or social power. At more egalitarian concerts, social hierarchies are
defined by
attendance at the "right" concerts and through social grouping activities at the
concerts
attended. Consider the model of political power embodied by the entire concert
scenario
-- the pyramidal hierarchy of human interaction, the unidirectional "top-down" flow
of
musical information, the Darwinistic struggle necessary for composers and
performers to
even land a concert engagement. This is not the best of possible worlds.
Computer music often makes explicit these reprehensible aspects of the
traditional
concert paradigm. The form of the traditional concert emerged primarily to meet
specific
utilitarian needs. As society became increasingly specialized, the concert arose
in order
to give more people access to music. However, because new media
technologies are
dramatically changing the ways in which music reaches the public, and because
much
computer music has effectively eliminated the specialized performer, the
traditional
concert does not serve as the locus for dissemination of computer music.
Instead, a
"traditional" computer music concert becomes a series of sounds pasted onto a
decaying
shell of unpleasant socio-political conventions.
Can a modern concert perform a valid and vital function? We believe that it can,
but
composers must be willing to view the entire musical experience -- aspects of
presentation most certainly included -- as part of the composition. Simply
adopting the
traditional concert paradigm often creates a context which effectively counteracts
the
musical intentions of the composer. The challenge is to create a presentation
context
designed to work with the music, not against it.
The "Living Room" Concerts
Much of the computer music we have done at Columbia is for tape playback only
(no live
performers). When we began to think about the format for putting this music
before an
audience, it occurred to us that a model already existed for the congenial
presentation of
tape music. It is a very natural and common activity for most of us to invite a few
friends
over to our house and spend the evening playing tapes. Generally these tape-
playing
sessions present our music in what appears to be one of the best possible
environments --
relaxed, informal, and nicely focussed on the sounds we play. We decided to
recreate the
feeling of this "living room" environment for our Spring computer music concerts.
The concerts are held in a spacious lounge, complete with overstuffed chairs and
couches.
We try to give the impression of a large living room by arranging the furniture in
an
informal manner, by bringing in a variety of plants and knick-knacks from our
homes,
and by using regular floor and table lamps as lighting. This physical environment
encourages a relaxed approach to our tape-playing. We augment this by
engaging in talk
and discussion about our music throughout the concert. We also try to have
some on-
going music or activities happening in the room to blur the starting and ending
points of
the "official" program; again done to enhance the relaxed listening mode we want
to
produce.
By treating our listeners as friends instead of as an "audience", we are attempting
to
create a more circular model of social interaction through these concerts,
replacing the
hierarchical pyramid of the traditional concert. The "living room" approach has
been
quite successful -- people often remain long after the end of the program to talk
and play
more music. For composers involved, these concerts tend to build a good feeling
of
community rather than the strong feeling of competition usually surrounding a
contemporary music concert.
The "Permanent and Disposable" Concert
In another extension of the idea of a complementary presentation context, we
decided to
try a concert involving visual elements that would enhance the music. We rented
a large
dance studio with a view of the city. Most of the composers had ideas for visual
components to their pieces. These included people practicing Tai Chi Chuan, a
slow
dance-like martial art form (accompanying a slow timbral piece), an actress and a
shakuhachi player, and a video display of the signals coming from the mixer.
The reason
for this "visual" approach is obvious: in a tape music performance, watching the
speakers
alone can be tedious. In a traditional concert, the performer provides a focus as
the
conveyor of the music, and some of our experience of the piece will necessarily
be
shaped by that perception. However, music created by computer composers is
often
designed to divorce itself from a specific focal point for the emanation of sound.
The
music may move anywhere in a conceptual space, and is not even limited to the
room in
which it is heard. The location modulation is part of the music, and not
dependent on the
positioning of performers. To provide an encompassing context for non-localized
sounds
requires some thought -- we did not want to fall back onto the status quo "lights-
out"
approach. The visual elements created for this concert were specifically
designed by the
composers to enhance particular aspects of each piece; thus providing a richer
experience
of the music.
For this particular concert, another concern was the relationship between the
various
compositions. We structured the evening to be a continuous body of music,
rather than a
haphazard collection of pieces. However, some of us were working on relatively
focussed pieces that were designed to be heard as separate entities. We
defined different
levels of focus of different musics by having some pieces in the traditional sense,
in that
they had clearly defined beginnings and endings, and other ambient music that
would
connect these pieces. We also planned intermediate forms of music that would
emerge
from the ambience and then fade back into it. We created the ambient music by
placing
tape recorders around the space, and then turning tapes of different sounds
louder and
softer during the "ambient" periods. This whole structure was intended to bring
the
music and the evening together into a related experience. Composers may feel
that their
work would be modified or compromised by this connection to other music, but
we
realized that the experience of the piece is going to be undeniably influenced by
the rest
of the concert anyway. We put this influence under control of the composer, the
flow of
the event was controlled by specifying how this ambient sound would relate to
particular
pieces being presented.
Because of the incorporation of different types of music, the concert was called
"Permanent and Disposable Music". Permanent music is perfect, static and
unresponsive
to the present situation. Disposable music is generated when needed and
subsequently
trashed. We were interested in presenting the craft in permanent music, with the
immediacy of disposable music.
Software Synthesis Improvisation
Improvisation has been of interest for many of the composers at Columbia. With
the
development of a real time CMIX mixing program, RT, by Paul Lansky at
Princeton,
improvisation with software-processed sounds became possible. We wrote an
interface to
the program called Piece Now to make sound generation faster and more
spontaneous
during a live performance. We used this interface in one of our recent concerts --
there
were seven performers playing various acoustic instruments and processors, and
a
computer doing mixing and some processing of sounds recorded both during the
concert
and during the improvisation. The piece was created in the same environment
that it was
heard, which captured some of the direct "bi-directional" communication between
creater
and listener which is absent in pure tape-music presentations.
Indeterminacy/Determinacy
Many of these situations require the composer to let go of a certain amount of
control in a
performance situation, or to gain control in a different area than what is
customary.
However, in considering the visual and aural contexts of each piece (as when
using
ambient music between highly structured pieces), there is clearly more control
than in a
traditional concert, where the program may often contain several unrelated
pieces from
the repertoire. There are many implications of this approach for performance.
The
relationship between composer, performer and audience has changed
tremendously. Not
only has the composer become the performer, and the performance is separated
into a
creation time and absorption time, as with much electro-acoustic music
performance, but
also the composer/performer has stepped down from the raised stage and
become a
human being who interacts on a personal level with the audience. The flavor of
that
interaction is central to the experience of the music itself. In contrast to the idea
of
listening to computer music being a cold "staring at the speakers" experience, the
audience can actually experience the person's work in the best possible form.
The
theatrical or visual elements come from many parts of the person's life, Tai Chi -
a
meditative exercise, a technically interesting view of the actual sound waves on a
screen
being experienced, children gone clamming on the beach, or even live musicians
playing
soon-to-be-altered sounds. This experimentation with areas of control is a part
of
today's performance art and may say more about the piece conceptually than the
notes or
rhythms used. Whether or not these areas are "extramusical" is immaterial. A
piece of
music must exist in some performance context to be experienced. A composer
may leave
this area as indeterminate, or define it. Defining it may well produce a richer
experience
for the audience.
We also hope that defining and working with these "extramusical" materials will
give us
access to social and cultural norms previously taken for granted or thought of as
axiomatic for musical presentation. One of the powers of artistic expression is
the ability
to recontextualize modes of behavior and recast them into something new and
different.
Computer music concerts, being the strange hybrid of old conventions and new
technology that they are, provide an open door for experimentation with the
social
interface of music. It seems only logical that composers, desiring the best
possible
communication with an audience, begin thinking of the total presentation of music
as all
part of the composition. Why limit ourselves to a presentation paradigm which is
ill-
suited for the music we produce? With a bit of creativity, a whole world of
possible
musics is available; unlimited by the darkened image of the concert hall.