What If Your Instrument Is Invisible?
As an electronic musician I am largely occupied with capturing and manipulation of sound in real time—specifically the sound of instruments being played by other musicians. Also being a singer, I’ve found that both of my instruments are often perceived as “invisible”. This article discusses various strategies I developed, over a number of years, in order to “play” sound manipulations in musically reactive ways, to create a live sound-processing “instrument”. Problems were encountered in explaining what I do to other musicians, audience, and audio engineers about what I do, technically and musically. These difficulties caused me to develop specific ways to address the aesthetic issues of live sound-processing, and to better incorporate my body into performance, both of which ultimately helped alleviate the invisibility problem and make better music.
- Brazelton, K. & Naphtali, D. (2003). “Sermonette- Ha!” (track 4). What is it like to be a bat? Tzadik Records, CD.Google Scholar
- Four Criteria of Electronic Music (KONTAKTE), Part 1. 1972. Prod. Robert Slotover. Perf. Karlheinz Stockhausen. Allied Artists, London. UbuWeb Film & Video/Lecture 5. http://ubu.com/film/stockhausen_lectures5-1.html. Accessed June 1, 2016.
- Moore, F. R. (1988). The Dysfunctions of MIDI. Computer Music Journal, 12(1), 19–28.Google Scholar
- Naphtali, D., Dick, R., & Takeishi, S. (2012). Live sound processing strategies. https://youtu.be/x9hWMSzMdTI. Accessed June 1, 2016.
- Rowe, R. (1993). Interactive Music Systems: Machine listening and composing. pp. 6–8. Cambridge, MA: The MIT Press.Google Scholar
- Schaeffer, P. (2012). In Search of a Concrete Music. (Trans. C. North & J. Dack Trans.). pp. 8–9. Oakland, CA: U of California.Google Scholar