From found objects to violins and pianos, transistors to global networks, music is rooted in its technologies. Instrument design, musical invention and performance are deeply intertwined. This workshop will explore understanding, building, repurposing, expanding and integrating technologies in contemporary music performance.
Tonight's music is thought as a series of anamorphic glances at sound objects coming from the early baroque. The original pieces are not reproduced – what would be the task of traditional music performers; they are generators of an impingement that, acting on the musical interiority of the performers by means of total exteriority, raises to a dimension of autonomy from both piece and musicians. The result is the sonic delineation of the potentialized encounter between work and performer: “an excluded middle, prior to the distinction between activity and passivity: affect” (Massumi). Part of the larger doctoral project Shadows from the Empty Center, the performance is aimed at proposing a new figure of musical performer that escapes the position of redundancy engendered by the traditional identitarian relationship between work and interpreter.
In this study day, open to the wider public, composers, performers and music researchers will be introduced to Barrett’s major contributions to the fields of acousmatic music and live electronics as well as to the development of higher order ambisonics, or immersive sound formats used to capture and reproduce three-dimensional sonic environments.
Additionally, members of MusicExperiment 21 will present their upcoming collaboration with Barrett in a media archaeological performance of J.S. Bachs’s Goldberg Variations, developed by Heloisa Amaral within the framework of her docARTES PhD-project.