Custom controllers and physical models as enablers of communal performance in “Two Fragments on Water and Light”

Abstract

Two Fragments on Water and Light explores a communal ensemble paradigm made possible through the implementation of customized technologies. The work is for solo voice and two additional performers who use controllers built, and in some cases designed, by the composer. These controllers operate either synthesis or effects processing algorithms which generate sound, modify existing sounds, or both. The arbitrary mapping between controller data and synthesis algorithm and the way that some of the synthesis algorithms function as both sound generators and sound processors allow multiple performers to create or modify the same sound. This permits the possibility of a communal performance environment in which the sonic identity of each performer, or the way in which the performer's physical actions directly translate into sonic result, blur into a common, ensemble sonic identity.

This document shows how technology enables this communal ensemble paradigm. It first discusses the operation of the physical models and controllers. It illustrates specifically how the use of technology allows for the dissolution of the sonic identity of each performer. This document then explains how technology and the performance environment it facilitates are used to highlight themes seen in the medieval texts set in these songs. After a few remarks evaluating the effectiveness of the songs, I present a performance score.