Performances – Ensemble

Blasen504_{, a duo with saxophonist Seymour Wright, recorded in May 2008, had a key}

role in the formulation of this proposed performance practice. This long-lasting musical relationship cumulated in this recording session, during which it felt to me as if the conceptual research finally influenced the musical proceeding in a distinctly compelling way: a clear awareness of different spaces within the formed duo. The presence of different layers and roles of the material emerged interlacing with the personal spaces. In conversation after the recording session, both players indicated an awareness of an additional musical space augmenting the personal ‘Blasen’ (bubbles) which had significantly influenced the overall structural discourse and development of ideas. This space was actively and intuitively explored while the electronic part of the piano+ both extended the sonic qualities of the piano and emerged as a semi-autonomous sphere located between the acoustic piano and the saxophone505_.

saxo phon_e electronic subversion through the electronic deviation through extended techniques subversion of the piano piano deviation through extended techniques deviation through the electronic subversion of the saxophone

Figure 6.4: A semi-autonomous sphere emerging between the two instruments.

502 _{Benjamin 1999, 234.} 503 _{Marcuse 1982.}

504 _{Lexer and Wright 2008.}

The electronic extension establishes here a sonic identity between the two performers with more autonomy than a modulated acoustic sound. This is not perceived as an accompanying texture or additional functional voice like a third performer. The sonic construction follows the contingent controls of the pianist but also indirectly to the musical activity of the saxophonist due to the saxophone sounds bleeding into the microphones and the sympathetic resonances of the piano strings and resonance board506_{. The electronic part becomes a shared musical space within the interacting} personal spheres. The structure of Blasen only emerges through the independence of the decisions of the players, their interaction and their response to the augmented texture recycling aspects of their own contributions. The musical awareness of Wright establishes an interactive approach with the electronic part, feeling that his contributions influence the electronics and that his choices of sounds can be decisive how the textures are created, maintained and destroyed. (Blasen: Blase_25:34 minutes: 7:17 - 12:20). The overall structure of the pieces appears as a loosely interwoven texture between the two players. Ideas emerge and develop quite independently and autonomously, while the intense listening and awareness of the musical situation does not equate in a synchronised discourse, but in cross-references to material and techniques that defy the progression of time. Despite an absence of direct controls for the saxophonist, the audio analysis enables sufficient influence to disturb the ‘immunity’ of the pianist as the piano+ opens an additional shared space (Blasen: Blase_25:34 minutes: 20:15 - end). However, in similar terms, the saxophonist's personal space is influenced too. The technology is not guiding him to fit into the processes of the electronics, but as he is part of the process, he will be influenced, in his own terms. The technology enables joint work on a sonic sculpture, differing from an approach to perform together. On listening to these recordings, the performance space appears established from the very beginning as if the space of the piece existed beforehand. The performers reveal its musical potential at their own pace, wandering through a sonic architectural space, just as cave explorers would shine light on the rock formations revealing different perspectives, constellations and connections. While the performers’ activity unveils musical objects directly, the electronics work as reflections that alter the overall perspective as the unveiled continues to shimmer or emerges indirectly projected on other objects.

506 _{Blase_25:34 has in particular an increased element of Wright’s conscious interplay with this extended}

The electronics therefore not only subverts the actual contributions of the players, but they have potential to re-contextualise their activity at every moment through the recurring perception of one’s own contributions. The performers are faced with their own action, as if words in a conversation would reappear to amplify, influence, and divert them from their initial meaning.507 _{The performance space is by no means a} virtual space with virtual tools and characters, or a simulation to equip oneself with new instrumental and conversational skills. The structure of the music develops different than in an acoustic dialogue, because the electronics enters into the conversation. However, the electronic textures are not sufficiently distinct to suggest structures as they might emerge within a trio. Nevertheless, it is a musical reality that engages with technology without decimating human communication. The activity avoids fearful disengagement from contemporary concerns; full commitment is instead given to the evolving sounds and structure, to react responsibly to these ghostly trails of their identity within the proceedings. It is proposed that such a performance space gives a glimpse of reconciliation bridging the gulf between free and responsible human activity and “virtual fascism”508_.

Performances involving the piano+ show that technology can be utilised while engaging with the sociopolitical situation encountered in performance. Despite my recognisable personal voice, a diversity of outcomes emerge within continuing musical relationships, as well as one-off musical encounters meeting players only minutes before the start of the performance. It is considered a crucial part of the practice that performances are not prepared and rehearsed in any way, mostly even avoiding a shared sound-check. This is not to exclude continuing musical relationships509_{. Possible} differences in musical approach are carried out on stage. A degree of trust is necessary, especially if one knows the fellow player usually engages in a style of improvisation that makes the pairing appear an unlikely combination.

A significant personal experience was a recent duo with the drummer Steve Noble510_, who engages in strikingly energetic performances511 _{and therefore occupies a musical} 507 _{Video example exceprt [email protected] .}

508 _{Kroker 2004, 41.}

509 _{E.g. Seymour Wright, Eddie Prévost, Paul Abbott, Grundik Kasyansky, and since December 2009}

Christoph Schiller.

510 _{Performance at Muddy Ditch #2 Cafe Oto 25.10.2011. Audio Example: 2011-10-25_LexerNoble.wav .} 511 _{http://www.efi.group.shef.ac.uk/musician/mnoble.html (last visited 20.07.2012).}

space I personally do only on rare occasions because the quality of the piano+ lies in more subtle processes. The performance felt like a test for the concept of the piano+: Being able to engage in the performance to find the space between our personal approaches: on one side the exploration of contingencies, yet on the other hand allowing energies to flow with the more rhythmical percussive encounters. The concert felt most satisfying, and the recording confirmed the feeling during the performance, not solely by the complexities in texture, nor because the balance between the acoustic spaces became mediated within a shared electroacoustic space. It’s success in relation to this research is that it has confirmed that the proposed performance practice is capable of being applied in musical situations without any sociopolitical or interpersonal aspects being compromised to make the technology fit into the musical discourse. The first minute of the performance (Audio Example: 2011-10-25_LexerNoble.wav512_{) establishes the} ground: In some respect the overall sonic relationship is sketched out. The tentative, yet energetic, gestures are enough to establish a space in between the two players and clarify how the system can augment and interfere with both. While around minute 2:30 the piano is the main contributor for the static textures, the seconds leading up to minute 3:55 shows a surprisingly clear imprint of the drums.

Although the performance could be described in further detail, indicating different degrees of interaction between the players and the technology, an analysis remains almost irrelevant. It is the personal attitude and approach to social, political and ethical topics that allows a musical conversation freed from pre-established or emerging hierarchies. The constantly evolving nature of the improvisation and the acceptance of the temporality of every single sound event enhance the awareness of one’s contribution and how it affects the proceeding. One is required to take a responsible stance and cannot shy away from pushing – or being pushed – into the unknown. This performance felt successful, because it appeared that the performance had found the real middle ground between the players, including energetic drumming and the most fragile textures (e.g. minute 22:05 - end).

Considering other performances, for example, the duo with Ute Kanngiesser on Cello (Audio Example: 2011-10-25_KanngiesserLexer_25-10-11.mp3), which remained completely in the acoustic realm, the duo with Aleks Kolkowski (Audio Example: 512 _{The mix is consciously favouring the electronic tracks.}

2011-07-02_Kolkowski_Lexer_Whitstable_ex.wav), which saw the piano+ used in combination with the Church Organ in St Peters, Whitstable, and the duo with Christoph Schiller on Spinet (Audio Example: 2011-03-06_SchillerLexer_AAAT2011.mp3), the flexibility of the system and the applied performance practice is evident. It shows that the technology has been adapted according to the sociopolitical understanding of the activity which suspends expectations and unlocks the potentiality spheres. The actualisation of the performance is therefore not hindered in the moment to engage in “thinking a thought” and “thinking of a potentiality”513_{. This approach is facilitated for} concrete practical application by the proposed theoretical method of the spheres adding a flexible procedure to heuristic inquisitive approach to improvisation. It is my conviction that it has increased my creativeness to find the suitable music to react, respond, adapt, guide and follow the musical moments I encounter.

Responsible action and acute awareness of the potentiality of the situation enables actualisations within sociopolitical musical constellations which cannot be preplanned nor repeated. Listening to recordings of these events is useful nevertheless, as the detachment from the performance activity itself reveals aspects which might inform the attitude and approach for future performances. For example, the perception and evaluation of duration differs greatly between the playing and listening experience. Recordings have been helpful to learn from the experience from a different perspective: Realising that one has the tendency to move quickly from certain textures and linger on others, in other words, whether the conceptual spheres are rotating too fast or too slow, or whether the journey through these spaces is hastened or dragging. Furthermore, potential patterns might be detected and alternative routes might be imagined. Every situation is attempted to be sensed in as many aspects as one can possibly grasp. Such attempted responsibility to the performance activity requires a technology which when applied facilitates the open approach to explore its potential without unifying limitations and without oppressive qualities restricting other personal spheres.

Conclusion

This thesis presents a holistic approach to researching and theorising a performance practice which engages with new technologies within free improvisation. The personal concerns regarding improvisation, instrument and technology form three fundamental areas which intrinsically correlate within the investigative practice. The instrument facilitates the conceptual approach and the activity empirically informs the demand on the instrument. The design of interactive music instruments requires specialised research into suitable technology. Such specialism might, however, deflect from artistic value and purpose within the practice. Conceptual and philosophical insights inspired the theoretical investigation of improvisation and have a continuing impact on the practice and technological developments.

The presented performance practice involves the performance system piano+ and is the result of a reflexive approach to deal with these interdependencies. It is proposed that the field of free improvisation, in which the potential of musical activity is investigated and scrutinised within the activity itself, allows a consistent exploration of its instruments and approaches. It is not assumed that the context of an improvisation will adapt to include the instruments employed, but that it is possible to ensure that instruments are created supply the appropriate means to adapt one’s activity to the situation in the sociopolitical context. The realtime electroacoustic processes researched, implemented and applied are of considerable technical sophistication and utilise – and expand on – current research in interactive technology, audio analysis and parameter mapping. The processes are related to the performance and philosophical concept through the approach of their application, rather than in the form of sonic modulation and content.

The concept of the piano+ emerged in direct relation to the tradition of the piano, its parts were researched and gradually implemented while being continuously employed at the piano. The piano+ is not an electroacoustic concept involving the acoustic piano, it emerged as a result of gradual and continuous exploration, for which electroacoustic techniques are a substantial means to expand its potential. The sonic potential and contingencies of the acoustic piano, expanded by the use of extended techniques, is

further augmented by electroacoustic processes to subvert and divert the acoustic properties of the piano.

A philosophical abstraction in form of the metaphor of personal spaces unifies these techniques. These spaces are not fixed entities, although particular abstractions can come close to an objectification, for example the potential of the instrument can be cohesively mapped out. They are a means to abstract the relation of the self to the other. This dichotomy is not grounded in the physicality of objects but in relation to the perception and perspective of oneself, one’s tools, the musical and sociopolitical context and environment. This facilitates individual development of one’s own understanding of the relationship to the entities around to strengthen the creative approach within the diverse possibilities.

John Tilbury, my former piano professor and mentor, expressed the following in relation to my CD Dazwischen514_:

Perhaps the (acoustic) piano cannot survive. Certainly in its 19th century incarnation it is threatened by obsolescence, overtaken by a confident, predatory new technology. (New venues boast state-of-the-art electronic, computerized pianos, but rarely a Steinway, or a Bösendorfer).

Samuel Beckett prophesied its demise in Watt:

“The piano is doomed, in my opinion, said the younger. The piano-tuner also, said the elder.

The pianist also, said the younger.”

I no longer share Beckett’s gloomy prognosis.515

Receiving these words as a response to my music from a person I hold the highest respect for, has been most encouraging as evidence that my concerns present in the theoretical research found their voice in the artistic and practical outcome. Tilbury describes new technology as “confident” and “predatory”, roles it frequently and comfortably inhabits within music and the arts. The piano itself, mechanical technology representing the bourgeois tradition perhaps more than any other instrument, is “doomed” and “threatened by obsolescence” as society embraces digital technology capable of facilitating widespread access to the most perfect and pristine imitation through recordings and sample players. The technology enabling the distribution of flawless copies of music and art threatens its own sources. This is partly caused by the successive commodification of music and art, but also because digital art only exists in 514 _{Lexer 2009.}

its own reproduction. By itself, technology is neither good nor bad: the destructive capabilities of technology cannot be blamed on technology alone. Human beings, capable of considering the consequences of their actions, can find responsible functions and roles for technology. The past 100 years indicate how technology has facilitated incredible advances in tandem with unimaginable destruction linking technology intrinsically to imperialistic and fascist political movements. Political systems might base their expansionist exploitation on technological dominance and surveillance; others might herald technology as a messianic means to democratise and free the world516_{. In} either case, technology influences human life and interaction and it has entered most aspects of modern life.

My personal dilemma, expressed in artistic terms within the music and as the underlying current within this research, is to find an acceptable borderline between technological advance and social compatibility and tolerance. This is reflected in the implemented sophisticated electroacoustic processes and interactive technology that allows one to overcome limitations of commercial software tools. A proficiency in the use of technology facilitated the means of creating an instrument while remaining an improvising musician. This is in some respects a privileged position to be in: being able to create one’s own instrument to reflect personal musical interests.

The performance practice emerged from the application of the piano+ system. The title of this thesis hints at the potential incompatibility between live electronics and performance by adding a second ‘live’ in front of performance: as if a truly live performance cannot necessarily be expected from an application of live electronics. Live electronics, by definition, facilitates real-time interaction with musical processes, but a consistent concern with aspects of live performance requires the ability to react to every aspect of the performance in situ. Live electronics in live performance demands the electronic sound to be created in the moment of the activity. It has to be an intrinsic part of the instrument to allow the adaptive quality and flexibility to suit improvised performance. It is neither sufficient to consider it as an element to create musical structure nor is it – in the context of improvised music – enough to be “‘playing‘ [...] the

soundscape as instrument [...] presented as reaffirmations of life and ‘live indicators’ in music”517_.

The intrinsic relationship between the technology and the musical potential was established from a historical and technological overview of electronic instruments to draw attention to the demands for new sonic sources facilitating progress and reflecting changes in society. Wessel’s metaphors for musical control518 _{and Croft’s performance} characteristics and conditions for instrumentality519 _{added useful metaphors and} characteristics to describe the role of interaction between performers and electronic instruments. Overall we can conclude that the diversity of approaches and technology yields immense potential unique to technology (i.e. sound sculpturing). However, the importance of a contingent element within musical control has been highlighted in order to extend the general sonic flexibility with the potential for instantaneous adaptations and adjustments required for improvisation.

Simplifying the concept of electroacoustic processes – reducing it to the manipulation of timbre, time and locality – is instrumental to focus on two distinct types of activities: operational activity to prepare and adjust processes and performative activity that has immediate audible results. Parameter mapping is fundamental in relation to the design of control structures, however, a distinction between direct and indirect controllers enables further discussion on the means to reduce operational activity within interactive performance systems. These topics are combined in a conceptual instrumental space. Its architecture and the means to operate within it have direct implications on the performativity and musical potential. This exposes a dilemma of whether musical problems encountered could be corrected by implementing changes to the instrument design, or whether further musical engagement ought to be invested in the current stage of development to explore the instrument’s potential. It has proven occasionally difficult to balance time and effort between instrument development and practical application. The deliberate interruption of further instrumental developments created the space to learn the potential and idiosyncrasies of the instrument. This heuristic investigation of the instrumental potential in solo and ensemble playing served as a basis to learn the

517 _{Emmerson 2007, 60.} 518 _{Wessel 2002.} 519 _{Croft 2007.}

capabilities of the piano+ beyond any initial conceptions and enabled the technological