Although all music emerges in the moment, some music also seeks to be “invented” in the moment. Such music still creates a sense of structure over time, but its emergence is often deliberately indeterminate and spontaneous. Examples of this music may be:
Free Improvisation: Conceptual Music:
Indeterminacy:
Game Music: Technological Solutions: Interactive Music:
Evan Parker, Derek Bailey
John Cage – 4’33” (Tacet) (1952)
Karlheinz Stockhausen - For times to come (1969-70) La Monte Young - Compositions 1960 (1960)
John Cage - Concert for Piano (1958)
John Zorn - Cobra (1984)
Graphical notation, Mobile Scores and Live Coding. George Lewis - Voyager (1987)
Immanence and the realtime aesthetic 2011 Lindsay Vickery
1.
Immanence and the real-time aesthetic in music
Lindsay Vickery
Edith Cowan University
l.vickery@ecu.edu.au
2. a pure stream of a-subjective consciousness, a pre-reflexive impersonal
consciousness, a qualitative duration of consciousness without a self.
Deleuze, G., (2001). Pure Immanence: Essays on A Life,
Zone Books: Brooklyn p. 29
Abstractions explain nothing, they
themselves have to be explained:
there are no such things as
u n i v e r s a l s , t h e r e ' s n o t h i n g
transcendent, no Unity, subject (or
object), Reason; there are only
processes, sometimes unifying,
subjectifying, rationalizing, but just
processes all the same.
Deleuze, G., (1995). Negotiations,
Columbia University Press: New
York p. 145-6
i m m a n e n c e . . .
3. The Twentieth Century saw challenges to notions of stability, linearity and the grand
narrative of progress. The range of cultural, scientific and technological changes
emerged that together refocussed artists on the phenomenological “immanent
moment”.
“We are suggesting, then, the evolutionary development of both art and science over the
past few hundred years in mutual interaction with the evolving Zeitgeist. Specific
examples of parallel developments in art and science thus far in the 20th Century may
serve to illustrate this point. In art the following innovations arose:
1905, Fauvism; 1907, Cubism; 1910, Abstract Painting; 1915, Dadaism; after 1925,
Surrealism; and recently, Abstract Expressionism.
In science we find corresponding innovations:
1900, Planck's Quantum Theory; 1900, Freud's Psychoanalysis;
1905, Einstein's Special Theory of Relativity; 1908, mathematical formulation of
Minkowski's Space-Time Coordinates; 1912, Einstein's General Theory of Relativity;
and, through the years, Niels Bohr's Hydrogen Atom Theory, Schroedinger's Wave
Equations, and Heisenberg's Interminacy Principle.“
Fischer, T., Irons, I. and Fischer, R. (1961). Patterns in Art and Science Their
Creation, Evolution, and Correspondence, Studies in Art Education Vol. 2. No. 2 pp.
1-100 p. 89-90
4. WORKING
METHODS
WORKING
PRINCIPLES
IMG
IMAGES
FUNDAMENTAL
ASSUMPTION
.4
C-
.
Science and art share this use of logic and metaphor in their practices. Artists and
scientists have utilised the power of the metaphor since the genesis of their disciplines.
Sturm, B. L. Composing for an
ensemble of atoms: the
metamorphosis of scientific
experiment into music ,
Organised Sound (2001),
6:2:131-145 Cambridge
University Press p. 144
Coenen, A. (1994).
Stockhausen's Paradigm: A
Survey of His Theories.
Perspectives of New Music,
32(2 (Summer, 1994)),
200-225.
5. When surgeons cut the corpus callosum joining
the cerebral hemispheres, they literally cut the
self in two, and (that) each hemisphere can
exercise free will without the other one’s advice or
consent. Even more disconcertingly, the left
hemisphere constantly weaves a coherent but
false account of the behaviour chosen without its
knowledge by the right.
For example, if an experimenter flashes the
command “WALK” to the right hemisphere, the
person will comply with the request and begin to
walk out of the room. But when the person is
asked why he has just got up, he will say in all
sincerity, “To get a Coke” – rather than “I don’t
really know” or “The urge just came over me” or
“You’ve been testing me for years since I had the
surgery and sometimes you get me to do things
but I don’t know exactly what you asked me to do”.
6. Similarly, if the patient’s left hemisphere is shown
a chicken and his right hemisphere is shown a
snowfall, and both hemispheres have to select a
picture that goes with what they see (each using
a different hand), the left hand picks a claw
(correctly) and the right picks a shovel (also
correctly). But when the left hemisphere is asked
why the whole person made those choices, it
blithely says, “Oh, that’s simple. The Chicken goes
with the claw and you need a shovel to clean out
the chicken shed.
The spooky part is that we have no reason to think that the baloney-generator in the
patient’s left hemisphere is behaving any differently from ours as we make sense of the
inclinations emanating from the rest of our brains.
Pinker, S. (2002). The Blank Slate, Penguin: London P. 154-5.
7. AUTOMATISM
Defined by Andre Breton as to “express – verbally, by any means of the written word, or
in any other manner – the actual functioning of thought”
(Breton, A., 1972. “Manifesto of Surrealism.” In Manifestos of Surrealism, University of
Michigan Press: Ann Arbor. p. 26).
The corridors of the big hotels are empty and the cigar
smoke is hiding. A man comes down the stairway and
notices that it's raining; the windows are white. We sense
the presence of a dog lying near him. All possible obstacles
are present. There is a pink cup; an order is given and
without haste the servants respond. The great curtains of the
sky draw open. A buzzing protests this hasty departure.
Who can run so softly? The names lose their faces. The
street becomes a deserted track.
8. time and space are relative
identity is a construct
memories are constructed
reality is altered by observation
civilisation is relative
progress is not guaranteed
religion is not necessarily absolute
IMMANENCE!
FUTURE!PAST! NOW!
Incredulity towards metanarratives
technological mediation
transcendentalism
rules and knowledge
systems are constructs
beauty is lazy and hypocritical
hell is other people
the past is a foreign country history is written by the victors
the truth is not out there
post-colonialism
the rational mind is an illusion
Annihilation of time and space
telepresence
9. time and space are relative
identity is a construct
memories are constructed
reality is altered by observation
civilisation is relative
progress is not guaranteed
religion is not necessarily absolute
IMMANENCE!
FUTURE!PAST! NOW!
distrust in metanarratives
technological mediation
transcendentalism
rules and knowledge
systems are constructs
beauty is fake and hypocritical
hell is other people
the past is a foreign country history is written by the victors
the truth is not out there
post-colonialism
the rational mind is an illusion
Annihilation of time and space
telepresence
The slippery nature of
history, memory,
the future and prediction
push us inexorably into
the present moment.
10. IMMANENCE
Although all music emerges in the moment, some music also seeks to be “invented” in
the moment. Such music still creates a sense of structure over time, but its emergence
is deliberately indeterminate and spontaneous. Examples of this music may be:
Free Improvisation: Evan Parker, Derek Bailey
Conceptual Music: John Cage – 4’33” (Tacet) (1952)
Karlheinz Stockhausen - For times to come (1969-70)
La Monte Young - Compositions 1960 (1960)
Indeterminacy: John Cage - Concert for Piano (1958)
Game Music: John Zorn - Cobra (1984)
Technological Solutions: Graphical notation, Mobile Scores and Live Coding.
Interactive Music: George Lewis - Voyager (1987)
11. FREE IMPROV
Also known as non-idiomatic improvisation”, “total improvisation”, “open improvisation” and
“free music”
(Bailey, D. (1993). Improvisation: Its Nature and Practice in Music, Da Capo p.83.)
It is perhaps impossible to completely eliminate “pre-defined” structures, as the
“instrument” or medium of expression itself might be considered to be defining structure
to an extent.
Free Improvisation, for example, exhorts performers to actualise a kind of sonic stream of
consciousness without reference to established rules or codes of behaviour. Real-time
invention of this type might be described as requiring a state of “immanence”, in which
reflection and planning are minimised.
12. In Free Improvisation, invention proportedly takes place at
the same instant as performance. Predetermined,
“composed” structures in this case are minimised.
Improviser Evan Parker’s definition of this mode of
improvisation, as quoted by Anne LeBaron, is as follows:
We operate without rules (pre-composed material) or
well-defined codes of behaviour (fixed tempi, tonalities,
serial structures, etc.) and yet are able to distinguish
success from failure.
Experientially, improvisation draws on a range of subconscious
physical and cognitive “reflexes”. LeBaron argues that the practice
of non-idiomatic composition can be liked to that of Surrealist technique automatism.
In accessing the unconscious by the most immediate and direct means, non-
idomatic musical improvisation might elicit an even speedier transfer from the
unconscious into sensory product (sound, in this case) than either visual or literary
automatism.” (ibid)
LeBaron, A. (2002). “Reflections of Surrealism
in Postmodern Musics”, in Postmodern Music/
Postmodern Thought, Routledge: London
pp. 27-74 p. 37
13. It might be argued that improvisation is a form of “instantaneous composition”,
however the process of improvisation is a cognitively and experientially a different
process to composition. Improvisation specifically “dissociates” activities in the part of
the brain primarily identified in planning complex cognitive behaviours, the prefrontal
cortex (Limb and Braun 2008).
There is also some evidence for a
neurological a basis for the distinction
between improvisation and reading
music in the mind of the performer:
we found that improvisation
(compared to production of over-
learned musical sequences) was
consistently characterized by a
dissociated pattern of activity in the
prefrontal cortex (…) This distributed
neural pattern may provide a cognitive
context that enables the emergence
of spontaneous creative activity.
Limb, C., and Braun, A., (2008). Neural
Substrates of Spontaneous Musical
Performance: An fMRI Study of Jazz
Improvisation in PLoS ONE. 2008; 3(2):
e1679.
14. Improvisation is imbued with a sense of instantaneity – it is part of its essence both for
the performer and the listener. It has been noted, for example, that recordings of Free
Improvisation are unable to fully capture the spirit of this form of performance:
Documents such as tape recordings of improvisation are essentially empty, as
they preserve chiefly the form that something took and give at best an indistinct
hint as to the feeling and cannot convey any sense of time and place.
Cardew, C., (1971). “Towards an ethic of improvisation”, in Treatise, Edition Peters
Although composition may also
involve similar “dissociation” in the
creative solution of problems, so
called “inspiration”, it is generally
identified with clear planning and
structuring tasks. Typically
associated with the prefrontal
c o r t e x “ i n t e r n a l i s a t i o n o f
structures”.
20. Indeterminacy
Clefs and noteheads are presented with a great
deal of ambiguity, allowing for a significant level of
openness in their interpretation. The twenty pages
of the work can be played at any speed and in any
order by up to twenty pianists.
John Cage: Winter Music (1957) p. 13 (detail)
Chance
The notational symbols that
comprise the score, were created
using a combination of chance
operations and the notation of
imperfections in the paper on which
it was written.
21. In his compositional, performative and listening
strategies, John Cage (1912-1992) sought to reduce or
remove intention from the experience of music. His
stance, “to let the sounds be themselves” (Kostelanetz, R.
(1988). Conversing with Cage. New York: Limelight p.
42), aimed to sever the linear associations between
events and to empty them of meaning other than their
own existence.
These pieces, I said, are not objects, but processes,
essentially purposeless. (…) I said that sounds were
just sounds, and (…) that since the sounds were
sounds, this gave people hearing them the chance to
be people, centered within themselves, where they
actually are, not off artificially in the distance as they
are accustomed to be, trying to figure out what is
being said by some artist by means of sounds.
Cage, J. (1985). A Year From Monday. London: Marion
Boyars Publishers p. 134
22.
The “Moment” a formal unit in a particular composition
that is recognizable by a personal and unmistakable
character. Depending on their characteristics, they
can be as long or as short as you like"
Stockhausen, K., (1963). “Momentform: Neue
Beziehungen zwischen Aufführungsdauer, Werkdauer
und Moment”. In his Texte zur Musik, vol. 1, pp.
189-210. Cologne: DuMont Schauberg p. 200)
When certain characteristics remain constant for a while – in musical terms, when
sounds occupy a particular region, a certain register, or stay within a particular dynamic,
or maintain a certain average speed – then a moment is going on: these constant
characteristics determine the moment. And when these characteristics all of a sudden
change, a new moment begins. If they change very slowly, the new moment comes into
existence while the present moment is still continuing. The degree of change is a quality
that can be composed as well as the characteristic of the music that is actually changing.
(…) That is what I understand by moment forming. I form something in music which is as
unique, as strong, as immediate and present as possible. Or I experience something. And
then I can decide, as a composer or as the person who has this experience, how quickly
and with how great a degree of change the next moment is going to occur.”
Stockhausen on Music, Marion Boyars Pubishers, London,1989.
THE MOMENT
23. Music thereby relinquishes its "narrative" character. It no longer "tells a continuous
story, is not composed along a 'red ribbon' that one must follow from beginning to end
in order to understand the whole. ... It is thus not a dramatic form with exposition, in-
creasing energy, development, climax, and effect of finality, but rather . . . every moment
is a center connected with all others, but one which can stand by itself.
Morgan, R. P. (1975). Stockhausen's Writings on Music, The Musical Quarterly, Vol.
61, No. 1, p. 8
INTUITION
Opening one's mind in order to receive more vibrations from the universe than one
normally does.
Coenen, A. (1994). Stockhausen's Paradigm: A Survey of His Theories, Perspectives of
New Music, Vol. 32, No. 2 p 210.
24. “From the Seven Days” (1969)
There’s a story of a second violin player who said, “Herr Stockhausen, how will I know
when I am playing in the rhythm of the universe?” Stockhausen said, with a smile, “I will
tell you.”
Anthony Pay of the London Sinfonietta,
Rehearsing Stockhausen’s
Ylem, quoted in (Bailey 1992 p. 72)
27. John Zorn
27 Game Pieces between 1974 and 1992
These works combined elements of Free
Improvisation with game strategies.
Ackley, B. 1997. Sleeve notes for 'Lacrosse'
by John Zorn The Parachute Years.
New York: Tzadik
Baseball (1976),
Dominoes (1977),
Curling (1977),
Lacrosse (1977),
Golf (1977),
Hockey (1978),
Cricket (1978),
Fencing (1978),
Pool (1979),
Archery (1979),
Tennis (1979),
Track and Field (1980),
Jai Alai (1980),
Goi (1981),
Croquet (1981),
Locus Solus (1982),
Sebastopol
(1983)Rugby
(1983),
Cobra (1984),
Xu Feng (1985),
Hu Die (1986),
Ruan Lingyu (1987),
Hwang Chin-ee
(1988),
Bezique (1989),
Que Tran (1990)
k.
28. In game pieces such as Cobra (1984), Zorn deliberately sets in play the “engagement”
of musicians from different stylistic backgrounds, drawing on the disjunction between
approaches that emanate from “inside” musical styles to create nonlinear tension.
Each Musician has his own musical world in his head so that, as soon as he gets
involved, is interested and excited, he’s going to add his world to it. That makes my
piece, my world, deeper.’
Rovere and Chiti 1998 p. 13
His compositional approach places his music, his musicians and himself as:
a center for the aggregation of citations… according to which images, discourses,
ideas, words and sounds… seem to have been taken elsewhere and reproduced without
any alteration are used as elements of discourse that face and clash with each other.
Grignaffini, G. (1977). Lettera a un produttore di immagini. Cinema& Cinema 10:
Godard a son Image(January February 1977). pp.17-18
30. I: Strings Pointillism III: Strings Crossing Glissandi!II: Held Strings!
IV: Normal Percussion! V: Winds!
Excepts of the six Fundamental Tac5cs of Iannis Xenakis Duel. The length of each sec5on is: I
‐ 68 bars, II – 77 bars, III – 42 bars, IV‐ 71 bars and V – 69 bars. (The “held strings” and
“strings crossing glissandi” tac5cs are actually labelled II and III respec5vely in the score.
(Xenakis 1959).
31. Our desire for closure or openness, for order and disorder,
cannot necessarily be identified with the actual perception
of that openness, of that order or disorder.
p. 95
Listening to “openness” is always a dilemma. A musical
event may present us with extremely complex, chaotic, and
diversified sound situations. This will lead us to look for
single out their common aspects, and we will certainly find
some, given the already stated fact that, once a point of
view has been established, everything can be related by
analogy, continuity, and similarity to everything else. At the
other extreme, a homogenous and immobile musical event
will stimulate us to pick out the slightest differences and
variations.
p.5
Berio, L. (2006). Remembering the Future. Harvard
University Press, Cambridge.
32. TECHNOLOGY
21 Apr 1951 USA Whirlwind, the first real-time computer was built at MIT by the
team of Jay Forrester for the US Air Defense System, became operational.
Levinson, J. (2010) Music in the Moment
34. The performative, and potentially structural, implications of computer
control derive from the nonlinear, hypertextual nature of
computational capacities and are musically manifested in three
principal organisational procedures:
The Real‐time Score
• permutative: allows the presentation
of materials to the performer in an
indeterminate order
• transformative: allows a fixed
score to be altered in real‐time
• generative: constructs components
of the score in real‐time.
p
c. permuative score c.tra
1. 3. 4. 5. 2. l
p mp f
b. fixed score and swiping playhead c. generative score separated parameters
pitch dynamic duration ornament
c. permuative score c.transformative score
1. 3. 4. 5. 2. layer 1.
p qex > .<
layer 2.
a. scrolling score and fixed playhead a. generative score traditional notation
> > > >
p mp f
41. What then renders these forces visible is astrange smile (or, First Study for Figures at
the Base of a Crucifixion) (2007-08)
for solo trumpet
Genera3on
In a Genera5ve work, algorithmic or interac5ve genera5ve
processes are employed to construct components of a digital
score in real‐5me. This approach opens broad range of
structural possibili5es o[en linked to a narra5ve or drama5c
concept.
Although algorithmic processes may be predetermined in a
genera5ve work, the outcome, in the form of a score or sonic
product is completely undefined prior to the performance. For
this reason, this form of “dynamic scoring” is some5mes
euphemis5cally referred to as “extreme sight reading”.
Freeman, J., (2008). Extreme sight‐reading, mediated expression, and audience par5cipa5on:
Real‐5me music nota5on in live performance. Computer Music Journal, 32(3), 25–41.
42. In Polish composer Marek Chołoniewski’s
Passage (2001), a conductor directs a silent
performance of hand gestures by the
performers, which are measured by changes in
luminosity measured by light sensitive resistors
mounted on their music stands.
The recorded gestural
data in turn generates a
scrolling score that is
subsequently performed
by the ensemble.
Chołoniewski, M., (2001).
“Passage”, Interactive Octet for
Instruments and Computer, http://
www.studiomch.art.pl/.
43. In the 80s, Barry Vercoe, working initially with Larry
Beauregard at IRCAM, then in M.I.T., implemented a
process whereby a computer program followed the score
played by a performer, so that a synthetic performer can
accompany the live performer.
This was used in works by Philippe
Manoury, Cort Lippe and many others.
Miller Puckette developed to this end
remarkable graphic programming
environment, Max, later amplified into
MaxMSP, a real-time modular program
with advanced scheduling capabilities for
both synthesis and programming.
Roger Dannenberg also developed
interactive software.
Rissett: Fifty Years of Digital Sound for Music
44. Interactive Music
“The environment is listening to the performance data, which in its turn can trigger
predetermined or algorhythmic, or even aleatoric processes. By the same token, the
performer is also reacting to the environment, placing herself into a fully interactive
feedback situation.”
(Povall: Compositional Methods)
47. Jon Rose: The Hyperstring Project
The MIDI bow
The Whipolin
http://www.jonroseweb.com/f_projects_hyperstring.html
48. George Lewis: Voyager (1993-)
“Voyager was more an architectural than a conceptual change from the IRCAM piece. It
was a massively parallel type deal, where you had a large number of software “players”
that could play any instrument at any time. This comes directly out of AACM multi-
instrumentalism. See, I don’t know of any culture where you can get a hundred people
together, each one of whom can play a hundred instruments, and they get together and
they improvise. It doesn’t happen. Software is the only place where you can realize
conceptions like that now. My feeling was that there is a political subtext to the idea of
signifying on, that sort of détournement of the classical orchestra.”