Introduction
This year's five seminars were devoted to a presentation and discussion of the first version of the work "...explosante-fixe..." for solo flute, two principal flutes, chamber music ensemble (without keyboards, percussion or harp) and electroacoustic device, which was performed during a workshop at IRCAM in January.
Technical description
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The flute/MIDI
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fingering capture method ;
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event detection (note-on, note-off coding) ;
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acoustic sensors and amplification;
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data transmission.
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Main flutes
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musical function ;
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amplification and processing through reverberation and filtering.
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Chamber music ensemble
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layout of strings, brass and woodwinds.
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Electroacoustic system
Description of computer system architecture
- master computer
- score-tracking device ;
- q-LIST system (task list) ;
- partition storage ;
- hierarchical sequences ;
- commands for the sampler ;
- commands for the spatialization matrix;
- commands for the slave computer.
- slave computer
- control message reception system ;
- sound transformation modules ;
- infinite reverb ;
- "harmonizers;
- frequency translators.
- samplers
- sample creation methods ;
- the percussive function of samples;
- creation of infinite sounds (aeolian sounds);
- inharmonic sounds (multiphonics);
- description of control programs.
- spatialization matrix
- static matrix configuration and function;
- dynamic matrix function.
iI. Musical writing methods
The principle of transgression
- speed/record
- writing characteristics
- stability/fixity ;
- ease/safety.
"... explosive-fixed..." instructions for use
- original relationship structure/transitions ;
- interstitial sequences;
- detailed description of "Transitory VII
- the scanning principle
- the seven writing families
- electroacoustic writing associated with each family.
"Extensions" of the solo flute's musical writing
- origin, solo flute: amplification, transformation ;
- first extension by the two flutes: amplification ;
- second extension by the instrumental ensemble ;
- third extension by electroacoustic device.
Description of musical writing methods
Comments on excerpts from numbers 1-3, 6, 13, 14, 20-22 of "Transitoire VII".