|
Music for High Hat and Computer
Cort Lippe - lippe@buffalo.edu
 excerpt (3.8mg)
program notes
Music for Hi-hat and Computer (1998) was commissioned by the American
percussionist J. Landy Cosgrove, and premiered in Denmark in March of 1998.
The electronic part was created at the Hiller Computer Music Studios of the
University at Buffalo, New York using the program Max which was developed
by Miller Puckette and whose technical support helped make this piece
possible.
Technically, the computer tracks parameters of the hi-hat, such as pitch,
amplitude, spectrum, density, rests, articulation, tempi, etc., and uses
this information to trigger specific electronic events, and to continuously
control all the computer sound output by directly controlling the digital
synthesis algorithms. Thus, the performer is expected to interact with
the computer triggering and continously shaping all of the computer output.
Some of the sounds in the electronic part come directly from the composed
hi-hat part, so that certain aspects of the musical and sound material for
the instrumental and electronic parts are one and the same. Sound material
other than the hi-hat is also manipulated in the time domain via
time-stretching and granular sampling. Frequency domain FFT-based
cross-synthesis and analysis/resynthesis using an oscillator bank, as well
as more standard signal processing such as harmonizing, frequency shifting,
phasing, spatialization, etc. are all employed. The instrument/machine
relationship moves constantly on a continuum between the poles of an
extended solo and a duo. Musically, the computer part is, at times, not
separate from the hi-hat part, but serves rather to amplify the hi-hat in
many dimensions and directions; while at the other extreme of the
continuum, the computer part has its own independent voice.
Music for Hi-hat and Computer is recorded on the ICMA/ICMC 2000 CD.
Duration: 14 minutes.
bio
Cort Lippe is a leading figure in the international electroacoustic music
community. Currently serving as Director of the Lejaren Hiller Computer
Music Studios at the University at Buffalo, New York, Cort has worked and
taught at many of the worlds most important facilities in composition and
research in music utilizing electronics. He has been active in the field of interactive computer music for more than 20 years.
He studied composition
with Larry Austin in the USA, spent a year in Italy studying Renaissance music, and three years in The Netherlands at
the Instituut voor Sonologie working with G.M. Koenig and Paul Berg in the fields of computer and formalized music. He also lived for eleven years in France, where he spent three years at the Centre dEtudes de Mathematique et
Automatique Musicales (CEMAMu), directed by I. Xenakis, while followed Xenakis course on formalized music at the
University of Paris; and he worked for eight years at the
Institut de Recherche et Coordination Acoustique/Musique (IRCAM), founded by P. Boulez, where he developed real-time musical applications and gave courses on new
technology in composition. He has followed composition and analysis seminars with various composers including:
Boulez, Donatoni, K. Huber, Messiaen, Penderecki, Stockhausen, and Xenakis, and has written for most major
ensemble formations.
His works have received numerous international composition prizes, including: the Irino Prize
(Japan), first prizes at Bourges (France), the El Callejon Del Ruido Competition (Mexico), the Leonie Rothschild
Competition (USA), as well as prizes and honorable mentions in the Music Today Competition (Japan), the Prix Ars
Electronica 1993 and 1995 (Austria), the Newcomp Competition (USA), and the Kennedy Center Friedheim Awards
(USA). His music has been premiered at major festivals worldwide, and is recorded by ADDA, ALM, Apollon,
CBS-Sony, Centaur, EMF, Harmonia Mundi, Hungaroton Classic, ICMC, MIT Press, Neuma and SEAMUS.
|
|
|
