Tre Aspetti del Tempo per Iperviolino e Computer

Giorgio Klauer

Music Proceedings of the International Conference on New Interfaces for Musical Expression

• Year: 2008
• Location: Genova, Italy

Abstract:

Program notes: Putting a distance sensor under the scroll of the instrument and an inclination sensor on the wrist, the detection of the displacements of the limbs of the interpreter becomes possible. These displacements, drawn onto a cartesian plane, give the coordinates of a track in an ideal performing space, whose third dimension is increased and formed by the passing of time. Actually, the computer permits to assimilate to the aforesaid track the sounding path proposed by the interpreter, hence to rehear it. Also in the latter case, the coordinates to access it are given by current gestures, therefore the dimension of time results bundled, somehow like considering a parchment palimpsest: the sounding form returned by the computer results increasingly dense and inexplicable and needs an electroacoustic exegesis that unleash it at least in shreds. The procedures of musical production are here a metaphor for knowledge; alike are the compositional methods at the root of the score, which providing the prescriptions of the musical path, portrays in addition a mental track. About the performer: Giorgio Klauer studied electronic music, instrumental composition, flute and musicology in Trieste, where he was born in 1976, in Cremona and in Liège. He is professor at the Conservatory of Como, school of music and sound technologies.

Citation:

BibTeX Entry:

  @inproceedings{nime2008-music-Klauer2008,
 abstract = {Program notes:
Putting a distance sensor under the scroll of the instrument and an inclination sensor on the wrist, the detection of the displacements of the limbs of the interpreter becomes possible. These displacements, drawn onto a cartesian plane, give the coordinates of a track in an ideal performing space, whose third dimension is increased and formed by the passing of time. Actually, the computer permits to assimilate to the aforesaid track the sounding path proposed by the interpreter, hence to rehear it. Also in the latter case, the coordinates to access it are given by current gestures, therefore the dimension of time results bundled, somehow like considering a parchment palimpsest: the sounding form returned by the computer results increasingly dense and inexplicable and needs an electroacoustic exegesis that unleash it at least in shreds.
The procedures of musical production are here a metaphor for knowledge; alike are the compositional methods at the root of the score, which providing the prescriptions of the musical path, portrays in addition a mental track.

About the performer:
Giorgio Klauer studied electronic music, instrumental composition, flute and musicology in Trieste, where he was born in 1976, in Cremona and in Liège. He is professor at the Conservatory of Como, school of music and sound technologies.},
 address = {Genova, Italy},
 author = {Giorgio Klauer},
 booktitle = {Music Proceedings of the International Conference on New Interfaces for Musical Expression},
 editor = {Roberto Doati},
 month = {June},
 publisher = {Casa Paganini},
 title = {Tre Aspetti del Tempo per Iperviolino e Computer},
 year = {2008}
}