tikiTik has evolved as a piece for itself. Aside from being a composition for tele-performance it can also be be performed as a media-only multi-phonic composition. Hereupon, it is also conceived for a second-order Ambisonics performance, if eight speakers are available on an octagon configuration.
Instrumental parts conceived for this piece have also evolved into another piece named KitiKit, which can be performed or tele-performed with another sounds not necessarily constrained to tikiTik.. A modular quality meaning there can be one or more pieces alike. Precisely, another tape part is being composed for KitiKit. However, an avid performer might still perform KitiKit with tikiTik. as an option, or several combinations of both; maybe on the same program.
Musical texture for tikiTik is achieved through contrasts forged by threads of overlapping sonorities. Instead of pitch, its development chains events thereby enforcing resonances of changing spectra through time in addition to beatings, result of combinations of sounds. Instrumentation is free to ensembles on each performance, although 'staccato' playing is strongly suggested on piano, clarinet, saxophone, trombone, flutes and plucked stringed instruments. Even 'vox-humana' can also be a choice. A multiphonic fixed part is made up of chunks of spectra product of physical models of resonant bars plus signal processing, legacy phase vocoding, and granular synthesis.
✇ Listen 🗧
... Compressed stereo downmix of, ``TikiTik''
Through the use telepresence, interaction on this piece is meant to be a live performance with players on the main stage as well as on remote sites. Nevertheless some sound sources follow trajectory paths on bi-dimensional planes on each location. Software for this composition was developed by the composer using Linux open source software on environments like Common Lisp Music, STK-ChucK and SuperCollider.
Below an illustration of first three parts for viola: