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Real-time composer-performer collaboration as explored in Wilderness, a dance and audio installation
Description
From fall 2010 to spring 2011, the author was the pianist in twenty public performances of Wilderness, a site-adaptable dance and audio installation by choreographer Yanira Castro and composer Stephan Moore. Wilderness's music was generated as the result of an algorithmic treatment of data collected from the movements of both dancers and audience members within the performance space. The immediacy of using movement to instantaneously generate sounds resulted in the need for a real-time notational environment inhabited by a sight-reading musician. Wilderness provided the author the opportunity to extensively explore an extreme sight-reading environment, as well as the experience of playing guided improvisations over existing materials while incorporating lateral thinking strategies, resulting from a real-time collaboration between composer and performer during the course of a live performance. This paper describes Wilderness in detail with particular attention focused on aspects of the work that most directly affect the pianist: the work's real-time notational system, live interaction between composer and performer, and the freedoms and limitations of guided improvisation. There is a significant amount of multi-media documentation of Wilderness available online, and the reader is directed toward this online content in the paper's appendix.
ContributorsDauphinais, Michael (Author) / Campbell, Andrew (Thesis advisor) / Hackbarth, Glenn (Committee member) / McAllister, Timothy (Committee member) / Pilafian, J. Samuel (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
Description
Experimentation is as vital to literature as it is to the sciences. Experimentation through narrative is an evolutionary process that develops the art of storytelling through changing mediums, formats and forms of linearity. Challenging conceptual norms of narrative has resulted in a new genre characterized by interactive nonconventional structures, and the necessity of reading with nontrivial effort. The term ergodic was applied to literature first in Espen J. Aarseths 1997 study Cybertext: Perspectives on Ergodic Literature. In its simplest terms, ergodic literature requires nontrivial effort to transverse the text, as opposed to nonergodic literature, which would be the majority of traditionally formatted and conventionally read literature that requires no extraneous responsibilities of the reader (Aarseth, 1997). The qualities that necessitate a heightened requirement of nontrivial effort vary widely. Literary works like Doug Dorst’s Ship of Theseus (2013) integrates supplemental materials, and notes transcribed in the margins connected to the multiple narratives within the actual pages of the book. Some books such as Mark Z. Danielewski’s House of Leaves (2000) utilize coded messages and hidden information that contribute to the atmosphere of the narrative. These intricacies enclose information that constructs a veritable labyrinth, containing details and material not easily found but ultimately pivotal to the comprehension of the text. And while completion may be a goal of the standard text, it may never even be intended for works such as these. Throughout this discussion I intend to contest that House of Leaves is an apex of literature and experimental narrative. Furthermore, I will highlight the importance of experimentation in narratives and its role in the development of various modes and mediums while analyzing prominent works and themes that fall under the category of experimental narrative or ergodic literature.
ContributorsGalvan, Joshua Paul (Author) / Gilfillan, Daniel (Thesis director) / Rigoni, Adam (Committee member) / School of Criminology and Criminal Justice (Contributor) / School of Politics and Global Studies (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
ContributorsEvans, Bartlett R. (Conductor) / Schildkret, David (Conductor) / Glenn, Erica (Conductor) / Concert Choir (Performer) / Chamber Singers (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-16
Description
The morphology of mountainous areas is strongly influenced by stream bed incision rates, but most studies of landscape evolution consider erosion at basin scales or larger. The research here attempts to understand the smaller-scale mechanics of erosion on exposed bedrock channels in the conceptual framework of an established saltation-abrasion model by Sklar and Dietrich [2004]. The recirculating flume used in this experiment allows independent control of bed slope, water discharge rate, sediment flux, and sediment grain size – all factors often bundled together in simple models of river incision and typically cross-correlated in natural settings. This study investigates the mechanics of erosion on exposed bedrock channels caused by abrasion of transported particles. Of particular interest are saltating particles, as well as sediment near the threshold between saltation and suspension - sediment vigorously transported but with significant interaction with the bed. The size of these erosive tools are varied over an order of magnitude in mean grain diameter, including a sand of D¬50 = 0.56 mm, and three gravel sizes of 3.39, 4.63, and 5.88 mm. Special consideration was taken to prevent any flow conditions that created a persistent alluvial cover. The erodible concrete substrate is fully exposed at all times during experiments reported here. Rates of erosion into the concrete substrate (a bedrock proxy) were measured by comparing topographic data before and after each experimental run, made possible by a precision laser mounted on a high speed computer-controlled cart. The experimental flume was able to produce flow discharge as high as 75 liters per second, sediment fluxes (of many varieties) up to 215 grams per second, and bed slopes up to 10%. I find a general positive correlation is found between erosion rate and bed slope, shear stress, grain size, and sediment flux.
ContributorsAdams, Mark (Author) / Whipple, Kelin (Thesis advisor) / Heimsath, Arjun (Committee member) / Schmeeckle, Mark (Committee member) / Arizona State University (Publisher)
Created2016
ContributorsOwen, Ken (Conductor) / McDevitt, Mandy L. M. (Performer) / Larson, Brook (Conductor) / Wang, Lin-Yu (Performer) / Jacobs, Todd (Performer) / Morehouse, Daniel (Performer) / Magers, Kristen (Performer) / DeGrow, Gary (Performer) / DeGrow, Richard (Performer) / Women's Chorus (Performer) / Sun Devil Singers (Performer) / ASU Library. Music Library (Publisher)
Created2004-03-24
ContributorsMetz, John (Performer) / Sowers, Richard (Performer) / Collegium Musicum (Performer) / ASU Library. Music Library (Publisher)
Created1983-01-29
ContributorsEvans, Bartlett R. (Conductor) / Glenn, Erica (Conductor) / Steiner, Kieran (Conductor) / Thompson, Jason D. (Conductor) / Arizona Statesmen (Performer) / Women's Chorus (Performer) / Concert Choir (Performer) / Gospel Choir (Conductor) / ASU Library. Music Library (Publisher)
Created2019-03-15
ContributorsKillian, George W. (Performer) / Killian, Joni (Performer) / Vocal Jazz Ensemble (Performer) / ASU Library. Music Library (Publisher)
Created1992-11-05
ContributorsButler, Robb (Conductor) / McCreary, Kimilee (Conductor) / Bakko, Nicki L. (Conductor) / Schreuder, Joel (Conductor) / Larson, Matthew (Performer) / Ortman, Mory (Performer) / Graduate Chorale I (Performer) / Graduate Chorale II (Performer) / ASU Library. Music Library (Publisher)
Created1999-12-02
ContributorsGarrett, Jennifer (Conductor) / FitzPatrick, Carole (Performer) / Aspnes, Lynne (Performer) / Campbell, Andrew (Pianist) (Performer) / Ryan, Russell (Performer) / Rockmaker, Jody (Performer) / Kocour, Mike (Performer) / McLin, Katherine (Performer) / Larson, Brook Carter (Conductor) / Women's Chorus (Performer) / Men's Chorus (Performer) / ASU Library. Music Library (Publisher)
Created2009-05-04