Updated: Jan 13
Fig. 1 : Loading (first page of the sketch )
Varése once mentioned that as the same time that the musical note is the symbol of classical music, the click seems the symbol of electronic music. With an unique click, we deviate from our expectation of effect-cause actions, because we allow the machine to continue long and repetitive mathematical process. And pondering about approaching it or not, the final conclusion is even it is important to think about the interpretation of a click, it concerns to this project to let it flexible its factor chain, leading specific actions to an open process of sound design.
I started to investigate a manner to visualize complexilty and variety in a click trigger. The deal of music trigger representation seems to be deviate in three functions: the automatic trigger, the build trigger and the single trigger. Like a factor chain, the instrument has to allow a combination between it's functions into a complex tree of possibilities, approaching time construction and at same time also plans, blocks and 'vertical thinking' of sound.
"Loading" : composition for a reprogrammable instrument
Loading was the first artistic piece created specially to be performed in a reprogrammable instrument. The goal was to solidify some conventional gestures and formats that was fundamentally possible and designed to be created. Loading interprets the sound of broadband connection, commonly listened during an old internet connection of a personal computer. The score is designed to be read vertically and horizontally, representing the electronic and acoustic sound. (Fig.1)
I was inspired to design an electronic representation with Cryptography, designing some music bars similar to a bar code system, where a combination of thick and thin lines represent a number:
Fig. x: Barcode example available at https://en.wikipedia.org/wiki/Barcode
It came up to use this idea as a conventional method to read scores specific to this instrument. This could be a great help to the musician's study or simply a less stress in some high-demand performances.
Those barcode lines are converted into the concept of Curves of expectation (explained at approach chapter of the thesis), where the movement of sound density is subjective represented by an consecutive straight lines (from left to right). I explore the same concept also at this sound acoustic representation below, a typography that I explored in previous cello pieces ( CRIME V and From the game to the rite ):
Fig.x: ( ANDRADE, Rafaele ) CRIME V instructions
The circle of notes represent the same thing, but you ready from inside to outside. In the string instruments, a curve of density represents a gesture led by the variation of density and speed of the right hand. The result sound is more evident when used an high-drop scordatura ( 3 or 5 intervals of difference between the conventional tuning). They propose an perceptible change in the stability of frequency, being possible to reach even half-tone lower by changing the speed and pressure in the the right hand (bow).
I make sure to give an better amount of freedom on the electronic sounds distribution, but and specifying graphing the visualization of it's ressemblance. At the end, it was idealized to conclude a symbiosis between the electronic and the acoustic graphically.
Bouncing oscillation of a physical modelling by beating notes were the main material investigated. Explored on the different ranges and spectrum of the composition parts, this material defined the linearity of whole piece, expressing at the end the achievement of a single sound phrase.