In this document, multiple aspects of the project have been examined from different perspectives. My background and motivation, the role of the conductor and the importance of notation are all addressed in a historical context. Empirical exercises and experiments made through the research process are explained. Then, an analytic method is used to reflect upon the conductor’s use of her new tool the conducting glove. All with regard to her musical interpretation of a written musical score during live performances.
Therefore it is time to conclude what I have achieved.
Unique musical experience
In my application to the Norwegian Artistic Research Program I wrote the following:
The expected result is that through musical material of a composer and the conductor’s musical gestures controlling digital technology, new sound worlds, new ways, new possibilities for musical performance will be explored. Practices that digital technology has to offer will be used to create a unique musical experience.
Expectations were high but not totally unrealistic and created a unique musical experience. It is my conclusion that ConDiS opens up for unprecedented possibilities for live mixed media music performances. ConDiS allows immediate synchronization of sounds in mixed music for ensembles or orchestras. ConDiS provides an uninterrupted interplay between the performers, the electronics, and the conductor. It means that the conductor is in direct physical contact with the performers using her traditional conducting technique. Simultaneously, there is a direct connection with the electronics using conducting gestures and click of knobs of the glove. With the use of ConDiS, the “man in the middle” is cut out. There is no need for an additional “electronic” performer; there is no need for a sound engineer.
With ConDiS, the performance gains a musical meaning with the musicianship and musical interpretation of the conductor. With the use of ConDiS, the coexistence between the composer’s score of electronic and acoustic sounds flows unbound through the conductor’s musical gestures.
While composing Kuuki no Sukimaand again when listening to the performances of the work, I constantly asked myself if I was extracting the potentials of ConDiS. If to answer I would say that I did. Though not to the extent that I intended at the beginning of the project but to the extent that fulfills my artistic goals.
At the beginning of the Bridging the Gap – ConDiS project, I was aware of the fact that the potentials of ConDiS could affect or change my compositional way of writing. I could even go so far as to expect a change in compositional method.
Early in the compositional process, it became clear to me that I had little need to change my style, no obligation or desire to write a composition only to demonstrate the possible usage of ConDiS. Instead, I felt I had a tool that was useful to fulfill my “desire” to expand my sonic world. Therefore, Kuuki no Sukuma is primarily written to fulfill my artistic ambition. Therefore, Kuuki no Sukuma is by no means a demonstrative composition; but a severe composition expanding my artistic needs. That being in itself a successful result.
Opening up doors
One of the most critical challenge in the preparation of the ConDiS research project was to expand my compositional methods. Extended instrumental and electronic notation played a significant role in the process. I was fully aware that without expanding my notation language, my sonic world could not expand.
However, it is not enough to extend the collection of extended notation technique; one has to learn how to use it. Use it as clearly and flourily as possible and use it often to make it tame to the tongue. This development can only take place by exercising the musical language through music composition.
ConDiS and the electronic notation graphics opens up new possibilities for composers to write with more precision the interplay between live instruments and their accompanying electronics. That way the composer becomes more aware, more conscious of the electronic writing in the whole compositional process. In other words, the writing of electronic sound becomes a part of the whole or integrated part of the orchestration. That integration by itself leads to new ways and opens up possibilities for written composition as well as musical performances.
Kuuki no Sukimawent sonically far behind anything I have done so far. My endless search for altered sounds, different sonic combinations, and ways to compose and perform mixed music gained a new dimension. Through composing Kuuki no SukimaI felt getting closer to discover the sonic gap that I believe is there somewhere “In Between the Air.” I know, that even though gaining a lot from the success of the ConDiS artistic research project, there is yet a lot to be discovered. Therefore, it is so important to continue my journey through the valleys of the endless spectral of music. So important to continue the research of various musical harmony. I know I have just opened up the gates, perhaps the “Gates of Delirium.” Now I am eager, now I have collected my musical and technical armory to further explore the musical spectrum of the valleys behind or “in between.”
Quotation to a song by the English progressive rock group Yes from their album Relayer (1975)