Workshop: Systemic Improvisation
Date:
Wed, 10/10/2018 - 1:00pm - 4:00pm
Location:
CCRMA Stage
Event Type:
Other After presenting their research project Systemic Improvisation in concert on October 9, Palle Dahlstedt, Per Anders Nilsson, Tim Perkis, and Gino Robair will conduct a workshop on the same topic on October 10. If you play an instrument (acoustic or electronic) and like to improvise, you are invited to participate!
This workshop is open to CCRMA/Stanford affiliates only. There are only six seats available. If you would like to attend, please fill out this form: https://goo.gl/forms/lZHK3MdL3UCnC0np1 (the form will be closed once the seats are full).
From the artists:
Part of the methodology of this study is to set up controlled experiments with graduate students in areas such as contemporary composition and improvisation, as well as with other musicians. These experiments consist of playing with improvisation systems that we have developed specifically for this project. We would like to record and film creative workshops and concert situations with the participants, parts of which will be published online and also released as audio recordings. Permission for recording, filming and publishing will be acquired from all participants in writing, and excerpts from interviews and recorded discussions with participants will be anonymized before being published.
Systemic Improvisation refers to a class of musical improvisation systems, wherein virtual interacting agents transform the musical interactions between players. It is a new kind of musical interaction/situation/work, and a continuation of Dahlstedt’s and Nilssons's long-term research into technology-mediated musical creativity and performance. The concept emerged from a previous research project, Creative Performance, which had a broader scope, investigating different categories of technologies that augmented and enabled musical performers to play in ways not previously possible. What they call systemic improvisation emerged as the most promising and interesting paths to follow in their continuing work, not least thanks to the very positive response from the participating musicians and the interesting musical results. In this project, they define an improvisation system as a system designed by someone, with a specific configuration of human agents (musicians) and virtual agents (interactive processes), and with communication going among all these agents, virtual and human. Systemic Improvisation is the activity of a number of musicians playing in such a system. It is also the term they have chosen for the whole category of musical works—a genre, if you wish. These improvisation systems work with all kinds of instruments, and the normal sound from the instrument is always heard acoustically, as in normal playing—it is not processed or hidden.
From the artists:
Part of the methodology of this study is to set up controlled experiments with graduate students in areas such as contemporary composition and improvisation, as well as with other musicians. These experiments consist of playing with improvisation systems that we have developed specifically for this project. We would like to record and film creative workshops and concert situations with the participants, parts of which will be published online and also released as audio recordings. Permission for recording, filming and publishing will be acquired from all participants in writing, and excerpts from interviews and recorded discussions with participants will be anonymized before being published.
Systemic Improvisation refers to a class of musical improvisation systems, wherein virtual interacting agents transform the musical interactions between players. It is a new kind of musical interaction/situation/work, and a continuation of Dahlstedt’s and Nilssons's long-term research into technology-mediated musical creativity and performance. The concept emerged from a previous research project, Creative Performance, which had a broader scope, investigating different categories of technologies that augmented and enabled musical performers to play in ways not previously possible. What they call systemic improvisation emerged as the most promising and interesting paths to follow in their continuing work, not least thanks to the very positive response from the participating musicians and the interesting musical results. In this project, they define an improvisation system as a system designed by someone, with a specific configuration of human agents (musicians) and virtual agents (interactive processes), and with communication going among all these agents, virtual and human. Systemic Improvisation is the activity of a number of musicians playing in such a system. It is also the term they have chosen for the whole category of musical works—a genre, if you wish. These improvisation systems work with all kinds of instruments, and the normal sound from the instrument is always heard acoustically, as in normal playing—it is not processed or hidden.
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