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Tecnología Pop
Musica Pop 2012
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This is one of the songs from my scholarship project for the Young Creators 2009-2010 FONCA
Works for voice, electronic, flute, clarinet, viola, bass and percussion.
Bin [aria]
for voice and multimedia, and assembly.
Bin [aria] two movements that explore the duality of the cosmos and the correspondences in the micro, meso and macro cosmos of sound. The digital environment, the machine and the physical environment, body, voice ... a microcosm where the voice and technology merge in an all audio visual
Modern life is highly concentrated in the digital environment, with the language of zeros and ones, (the simplest of those known to man) can not only communicate in many different ways (creating music, videos, text, Internet , phones, etc) but also create alternate universes, different realities, worlds virtues.
Bin [aria] explores these two environments, digital and physical, looking for correspondences to create a universe where both coexist.
The voice and representation of the physical environment and the first musical instruments and computer as representatives of the digital environment and the most innovative of the instruments.
Description
The digital environment machines create their own "sounds" to communicate, ie, the zeros and ones to go through certain circuits produce sounds (like the sounds of a modem, printer, card poor sound quality), these are recorded by computer and makes a sound spectrum analysis (with Spear) after the data are converted into musical notation (with OpenMusic), this material will be used to obtain various musical parameters such as pitch, duration, timbre relationships, rhythm etc. and also be processed mathematically to obtain material "new" (interpolation, transposition, transfer drawings, Markov chains), always under the criterion that is musically functional. So too, of this material is sought and analyzes other musical parameters such as rhythm or melody, making use of them if it is musically appropriate.
The material will be used for the notation of the assembly (Flute, Clarinet, Viola, Double Bass and percussion). The score of the first moving assembly is scheduled to be linear while the voice improvises and modular for the second movement, while the voice is linear.
The sound of the voice is captured by a microphone connected to a computer, it enters Supercollider, where they perform various real-time electronic processes, such as processes spectral pitch follower, resulting in the ligand to the intensity and height voice, making them a full musical. The "clean" sound of the voice is slightly processed with echo and reverb and insert effects.
A video camera scans the image of the singer which is processed within the computer in real time with Quartz Composer, these processes are caused by the sonority of the ensemble (also miking). Thus creating a circle of binary processes which affects voice in the assembly and the sound of the ensemble in the image of the singer,
Well system using DMX, MIDI through Isadora, it seeks to control lights on the stage, which would change the lighting in the sense of drama in the score. The DMX system acquisition and other technical requirements (computer, microphones, speakers, LanBox, machine guns and smoke LDS) NOT mean an extra expense for the FONCA.
An internal examination to achieve the union of these two universes of sound, is implicit in the writing process to achieve what, concept, form, structure, and musical material coexist in their own diegesis.
The collection of musical material and the processing of the digital media will, however, others purely compositional processes (structuring, organization, etc..) Are always under the opinion that the final product is musically functional.
The dramatic structure (organization of the forces and energies in time) for the parts is derived from the relationships that arise on all environmental semantic "physical / digital" and without neglecting expression, gesture and musicality.
Objectives
Glossary.
Spectral analysis: is the mathematical procedure by which it is possible to break down something complex into simple parts or identify something complex that the most simple form it. In the case of sound to identify the frequencies that make up a sound and its development over time. It is mathematically possible by Fourier transform.
OpenMusic (OM) is visual programming environment for object-oriented computer-assisted musical composition, based on Common Lisp.
SPEAR (Sinusoidal Partial Editing Analysis and resynthesis) is an application for audio analysis, editing and re-synthesis. The analysis procedure represents a sound with many sinusoidal tracks (partial), each corresponding to a single sine wave with time-varying frequency and amplitude.
SuperCollider is an environment and a programming language originally published in 1996 by James McCartney in real time audio synthesis and algorithmic composition. It has since evolved into a more used and developed by both scientists and artists working with sound. It is an efficient and expressive dynamic programming language which makes it an interesting framework for acoustic research, algorithmic music and interactive programming.
MIDI stands for Musical Instrument Digital Interface (Musical Instrument Digital Interface). This is an industry standard protocol that allows computers, synthesizers, sequencers, controllers and other electronic musical devices to communicate and share information for the generation of sounds.
Quartz Composer is an application from Apple that allows developers to create visual and generate various interactive processes. Being a software object-oriented programming script interface allows multiple tasks and great potential.
Isadora is an interactive graphical programming environment for Macintosh that provides control over digital media, with particular emphasis on real-time manipulation of digital video, audio and lighting. It is designed for that in art installations, theater and dance
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