Mulholland Revisited

Héloïse Garry

Proceedings of the International Conference on New Interfaces for Musical Expression

Abstract

This project explores the intersection of real-time algorithmic sound generation and live piano performance through ChucK and MIDI-based interaction. Inspired by the interplay between dream and reality in David Lynch’s "Mulholland Drive" (2001), the piece utilizes a series of ChucK scripts that dynamically respond to the pianist’s input, shaping an evolving soundscape. The system employs MIDI-triggered processes to generate and manipulate electronic textures in real-time, expanding the piano’s expressive range beyond its traditional acoustic boundaries. The work is structured around four key sonic gestures, each corresponding to a moment in "Mulholland Drive": (1) a synthesized telephone bell signifying Diane’s psychological rupture, (2) a dynamically generated arpeggio that mirrors the tension of her conversation with Camilla, and (3-4) progressively complex textural layers that blur the line between live performance and algorithmic sound synthesis. By integrating reactive electronic sound with live piano, this piece demonstrates how real-time programming can transform the piano from a traditional interface into a multidimensional, interactive system.

Citation

Héloïse Garry. 2025. Mulholland Revisited. Proceedings of the International Conference on New Interfaces for Musical Expression. DOI: 10.5281/zenodo.17801184 [PDF]

BibTeX Entry

@inproceedings{nime2025_music_41,
 abstract = {This project explores the intersection of real-time algorithmic sound generation and live piano performance through ChucK and MIDI-based interaction. Inspired by the interplay between dream and reality in David Lynch’s "Mulholland Drive" (2001), the piece utilizes a series of ChucK scripts that dynamically respond to the pianist’s input, shaping an evolving soundscape. The system employs MIDI-triggered processes to generate and manipulate electronic textures in real-time, expanding the piano’s expressive range beyond its traditional acoustic boundaries. The work is structured around four key sonic gestures, each corresponding to a moment in "Mulholland Drive": (1) a synthesized telephone bell signifying Diane’s psychological rupture, (2) a dynamically generated arpeggio that mirrors the tension of her conversation with Camilla, and (3-4) progressively complex textural layers that blur the line between live performance and algorithmic sound synthesis. By integrating reactive electronic sound with live piano, this piece demonstrates how real-time programming can transform the piano from a traditional interface into a multidimensional, interactive system.},
 address = {Canberra, Australia},
 articleno = {41},
 author = {Héloïse Garry},
 booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
 doi = {10.5281/zenodo.17801184},
 editor = {Sophie Rose and Jos Mulder and Nicole Carroll},
 issn = {2220-4806},
 month = {June},
 note = {Live Performance},
 numpages = {5},
 pages = {164--168},
 presentation-video = {https://www.youtube.com/watch?v=viQeJR-QNjc},
 title = {Mulholland Revisited},
 track = {Music},
 url = {http://nime.org/proceedings/2025/nime2025_music_41.pdf},
 urlsuppl1 = {http://nime.org/proceedings/2025/nime2025_music_41_file01.mp4},
 year = {2025}
}