Uw zoekopdracht voor trefwoord 'experimentation' leverde 4 resultaten op in 'Projecten'.
The appearance of microphones and loudspeakers allowed composers to explore new musical territories. Until then, grinding noises coming from mechanic of piano or sounds emitted by the pianist were only perceived as disturbing the performance. With the development of amplification, those noises have become sounds that composers could use in a musical discourse.
New pianistic techniques have appeared: inner and outer parts of the instrument are investigated with the hand or with various accessories, while, in turn, properties of these accessories are revealed through their use inside the piano. The pianist himself becomes a study object: he is asked to make amplified finger snaps or tongue clicks, he has to speak, to sing or to whistle in a kind of choreographed show.
Live electronics have brought new steps of amplification, increasing virtuosity, filtering resonance, working on acoustic diffusion. The pianist can then interact and play along with live electronics, expanding the possibilities.
This research will be done from the performers’ perspective, but in collaboration with different composers for experimenting new amplified piano / pianist music.
Acoustic Feedback and Corporeality is a research project situated at the crossroads of acoustic feedback composition and interactive performance practises that include movements of the performer on stage. Grounded on the assumption that neither sound nor movement can be composed or choreographed independently from each other, the central aim of the project is the study, design and development of new modes of interaction between sound and movement focusing on the role of the performer’s body and its multiple corporealities (sound producer, gestures, movement, presence). Methodologically, the project will develop several “experimental systems” (Rheinberger 1997) containing instruments, microphones, loudspeakers, light, spaces, sound, and video in order to generate unexpected but controlled sonic and visual events. More than a goal, acoustic feedback becomes one parameter among many others. Besides the doctoral dissertation, outputs will include performances, conference presentations, articles, web-based expositions, and a user-friendly booklet on acoustic feedback practises.
The relationship between performer and musical work has shifted focus in the last fifty years.
Hoewel opnames uit het begin van de 20e eeuw doorgaans worden beschouwd als waardevolle sporendragers van de uitvoeringsstijl van de laatromantische periode, zijn ze moeilijk te rijmen met de huidige normen voor het uitvoeren van bepaald 19e -eeuws repertoire, en met de identiteit van de uitvoeringscanons die door die normen beschermd worden.