Difference between revisions of "Mobile Phone Orchestra/NIME2008"
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== Links to additional audio-visual documentation ==
== Links to additional audio-visual documentation ==
Latest revision as of 16:08, 4 March 2008
- 1 Title of the work
- 2 Name (composer(s)/artist(s)/performer(s))
- 3 Institution or company
- 4 Address
- 5 Email (one e-mail contact per submission)
- 6 Year of composition
- 7 Duration of performance
- 8 Instrumentation
- 9 Narrative description of the work
- 10 Brief program note (250 words max) for inclusion in concert program / proceedings
- 11 Artist biographies
- 12 Set-up and rehearsal time required
- 13 Detailed technical requirements (sound, light, stage area, etc.)
- 14 Document of the technical set up (plans, drawing, sketch)
- 15 Images showing the work
- 16 Links to additional audio-visual documentation
Title of the work
MoPhO: Mobile Phone Orchestra Suite (MoPhOrCC)
- MoPhO directors: Ge Wang, Georg Essl, Henri Penttinen
- composers: Ge Wang, Georg Essl, Jeff Cooper, Henri Penttinen
Institution or company
institution: CCRMA, with support from Deutsche Telekom and Nokia
660 Lomita Dr. Stanford, CA 94305
Email (one e-mail contact per submission)
Year of composition
Duration of performance
16' - 20'
12 mobile phones (no external amplification)
Narrative description of the work
The Mobile Phone Orchestra is a new repetoire-based ensemble using mobile phones as the primary musical instrument. The MoPhO Suite contains a selection of recent compositions that highlights different aspects of what it means to compose for and perform with such an instrument in an ensemble setting.
Brief program note (250 words max) for inclusion in concert program / proceedings
The Mobile Phone Orchestra of CCRMA (MoPhO) presents an experimental ensemble suite featuring music performed on mobile phones. Far beyond ring-tones, these interactive musical works take advantage of the unique technological capabilities of today's hardware, turning phone keypads, built-in accelerometers, and built-in microphones into powerful and yet mobile chamber meta-instruments.
- Drone In/Drone Out (Ge Wang): human players, mobile phones, FM timbres, accelerometers.
- TamaG (Georg Essl): TamaG is a piece that explores the boundary of projecting the humane onto mobile devices and at the same time display the fact that they are deeply mechanical and articifical. At the same time it explores the question how much control we have in the interaction with these devices or if the device itself at times controls us. The piece work with the tension between these positions and crosses the desirable and the alarming, the human voice with mechanical noise. The alarming effect has a social quality and spreads between the performers. The sounding algorithm is a non-linear algorithm called circle map which is used in easier to control and hard to control regimes to evoke the effects of control and desirability on the one hand the the loss of control and mechanistic function on the other hand.
- The Phones and Fury (Jeff Cooper and Henri Penttinen): how much damage can a single player do with 10 mobile phones? Facilitating loops, controllable playback speed, and solo instruments.
- Chatter (Ge Wang): this places the audience in the middle of a web of conversations.
The Mobile Phone Orchestra is a new repetoire-based ensemble using mobile phones as the primary musical instrument, founded in 2007/08 at Stanford University by Ge Wang, Georg Essl, and Henri Penttinen.
Georg Essl is currently Senior Research Scientist at Deutsche Telekom Laboratories at TU-Berlin, Germany. He works on mobile interaction, new interfaces for musical expression and sound synthesis algorithms that are abstract mathematical or physical models. After he received his Ph.D. in Computer Science at Princeton University under the supervision of Perry Cook he served on the faculty of the University of Florida and worked at the MIT Media Lab Europe in Dublin before joining T-Labs.
Ge Wang received his B.S. in Computer Science in 2000 from Duke University, PhD (soon) in Computer Science (advisor Perry Cook) in 2007 from Princeton University, and is currently an assistant professor at Stanford University in the Center for Computer Research in Music and Acoustics (CCRMA). His research interests include interactive software systems for computer music, programming languages, sound synthesis and analysis, music information retrieval, new performance ensembles (e.g., laptop orchestras) and paradigms (e.g., live coding), visualization, interfaces for human-computer interaction, interactive audio over networks, and methodologies for education at the intersection of computer science and music. Ge is the chief architect of the ChucK audio programming language and the Audicle environment. He is a founding developer and co-director of the Princeton Laptop Orchestra (PLOrk), and a co-creator of the TAPESTREA sound design environment. Ge composes and performs via various electro-acoustic and computer-mediated means.
Set-up and rehearsal time required
set-up time: 5-10 minutes rehearsal time: 2 x 45 minutes in the performance space
Detailed technical requirements (sound, light, stage area, etc.)
standard stage lighting, no sound system, standard stage area with possibility of surround audience
Document of the technical set up (plans, drawing, sketch)
we refer you to the submitted images and video to provide a sense of the setup