foggiphonie

for Ensemble (fl., cla., tb., perc., pf., vn., vc., cb) and Live-Electronics

Keitaro Takahashi (Performer)

Research output: Non-textual formPerformance

Abstract

Commissioned by Ensemble Phoenix Basel for the concert series <Force fields - Electronik 2018> in association with Gare du Nord Basel Switzerland. Two performances were given in Basel Switzerland in December 2018. The piece was written for 8 musicians and live-electronics where each instrumental sound is captured by microphones and manipulated in real time by the program developed by myself on Max8. The work explores ambiguous metamorphoses of musical textures among monophony, polyphony, and timbral associations. This music starts with a single tone and gradually accumulates different tones to form a polyphonic sound until it becomes a timbral association. A chunk of tones represents sort of a tone cluster or acoustics as we are not able to distinguish individual note anymore but to listen to the whole as a single timbre. The technique used for this composition is based on my Ph.D. research (2013-2018) on the development of the Computer-assisted composition program which supports creating musical gestures and acoustic associations by combining different recordings of various instrumental sounds or fragments retrieved from a corpus of audio data. The program first analyses a tremendous number of recordings and extracts their descriptors to label and sort them according to their characteristics by using a Neural network (Self-Organizing Map). The synthesis technique is originally studied in the Concatenative Sound Synthesis in speech synthesis and electronic music such as Micromontage.
Original languageEnglish
Publication statusPublished - 2 Dec 2018

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electronics
music
Switzerland
synthesis
acoustics
metamorphosis
neural networks
texture
extracts
methodology

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title = "foggiphonie: for Ensemble (fl., cla., tb., perc., pf., vn., vc., cb) and Live-Electronics",
abstract = "Commissioned by Ensemble Phoenix Basel for the concert series <Force fields - Electronik 2018> in association with Gare du Nord Basel Switzerland. Two performances were given in Basel Switzerland in December 2018. The piece was written for 8 musicians and live-electronics where each instrumental sound is captured by microphones and manipulated in real time by the program developed by myself on Max8. The work explores ambiguous metamorphoses of musical textures among monophony, polyphony, and timbral associations. This music starts with a single tone and gradually accumulates different tones to form a polyphonic sound until it becomes a timbral association. A chunk of tones represents sort of a tone cluster or acoustics as we are not able to distinguish individual note anymore but to listen to the whole as a single timbre. The technique used for this composition is based on my Ph.D. research (2013-2018) on the development of the Computer-assisted composition program which supports creating musical gestures and acoustic associations by combining different recordings of various instrumental sounds or fragments retrieved from a corpus of audio data. The program first analyses a tremendous number of recordings and extracts their descriptors to label and sort them according to their characteristics by using a Neural network (Self-Organizing Map). The synthesis technique is originally studied in the Concatenative Sound Synthesis in speech synthesis and electronic music such as Micromontage.",
keywords = "Live-Electronics",
author = "Keitaro Takahashi",
year = "2018",
month = "12",
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language = "English",

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T2 - for Ensemble (fl., cla., tb., perc., pf., vn., vc., cb) and Live-Electronics

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PY - 2018/12/2

Y1 - 2018/12/2

N2 - Commissioned by Ensemble Phoenix Basel for the concert series <Force fields - Electronik 2018> in association with Gare du Nord Basel Switzerland. Two performances were given in Basel Switzerland in December 2018. The piece was written for 8 musicians and live-electronics where each instrumental sound is captured by microphones and manipulated in real time by the program developed by myself on Max8. The work explores ambiguous metamorphoses of musical textures among monophony, polyphony, and timbral associations. This music starts with a single tone and gradually accumulates different tones to form a polyphonic sound until it becomes a timbral association. A chunk of tones represents sort of a tone cluster or acoustics as we are not able to distinguish individual note anymore but to listen to the whole as a single timbre. The technique used for this composition is based on my Ph.D. research (2013-2018) on the development of the Computer-assisted composition program which supports creating musical gestures and acoustic associations by combining different recordings of various instrumental sounds or fragments retrieved from a corpus of audio data. The program first analyses a tremendous number of recordings and extracts their descriptors to label and sort them according to their characteristics by using a Neural network (Self-Organizing Map). The synthesis technique is originally studied in the Concatenative Sound Synthesis in speech synthesis and electronic music such as Micromontage.

AB - Commissioned by Ensemble Phoenix Basel for the concert series <Force fields - Electronik 2018> in association with Gare du Nord Basel Switzerland. Two performances were given in Basel Switzerland in December 2018. The piece was written for 8 musicians and live-electronics where each instrumental sound is captured by microphones and manipulated in real time by the program developed by myself on Max8. The work explores ambiguous metamorphoses of musical textures among monophony, polyphony, and timbral associations. This music starts with a single tone and gradually accumulates different tones to form a polyphonic sound until it becomes a timbral association. A chunk of tones represents sort of a tone cluster or acoustics as we are not able to distinguish individual note anymore but to listen to the whole as a single timbre. The technique used for this composition is based on my Ph.D. research (2013-2018) on the development of the Computer-assisted composition program which supports creating musical gestures and acoustic associations by combining different recordings of various instrumental sounds or fragments retrieved from a corpus of audio data. The program first analyses a tremendous number of recordings and extracts their descriptors to label and sort them according to their characteristics by using a Neural network (Self-Organizing Map). The synthesis technique is originally studied in the Concatenative Sound Synthesis in speech synthesis and electronic music such as Micromontage.

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ER -