The computer is used as a sequencer, synthesizer as well as a sound-processor
that alters the original flute sound in real-time during the performance.
Some of the computer sequences are written in the 12, 14, 15, 16, 17,
18 or 19 equal-note temperaments. Each temperament, played by the computer,
only appears when it can be in tune with the current musical phrase played
by the flute in the 12 equal-note temperament.
This use of mixed equal-temperaments relies on accuracy and it is then
important that the flutist executes accurately the durations during so
the computer can play the right tuning and frequency at the right time.
Because musicians have sometimes difficulties to play along with a tape,
a flexible system was designed that enables the computer to follow the
There is an other justification for the use of an alternative to the
tape format: the computer is also programmed to achieve a certain degree
of randomness during its performance, so recording a version and then
notating it would 'freeze' its 'improvisational' quality in a real-time
The programming language SUPERCOLLIDER2 (1) was used to program the computer
parts and to analyse the performance in order to print in real time a
list of the flute frequencies.
The computer was also programmed with a list containing certain frequencies
from the score. The next step for the computer is to compare these two
lists. Whenever the computer detects that the current flute frequency
is one of the frequencies from its score list, it triggers the corresponding
sound (already composed for this particular moment in the score). The
stream of sounds triggered by a single flute note might be an effect on
the original flute sound or a sequence of sounds filled with random events
controlled in a serial manner.
(1) by James McCartney. http://www.audiosynth.com
Fabrice Mogini was born in Cannes,
France in 1965. He moved to London in 1990. Self-taught, he experienced
music in an idiosyncratic manner. He then studied at Middlesex University,
at the Centre for Electronic Arts were he obtained a BA (1998) and a MA
(2000) in Sonic Arts. His master research was titled: 'Alternative Tuning
Systems'. He developed composition techniques that permit the use of several
different tuning systems at once. An extension of this theory is the possibility
of using soundscapes while still refering to pitch and connecting a sound
sequence to a single or many tuning systems at once.
Interested in tradition he also uses the computer as an instrument (concerto
for computer mouse, flute and vibraphone) or to execute the electronic
part of his scores. He now programs the computer and writes algorithms
that help him not only to perform his music but also for pure research
at a compositional level.
He currently teaches guitar and has created a music workshop for adults
with learning difficulties. It is set as an orchestra with traditional
instruments as well as electronic sound-triggers he has especially developed
for this project with the programming language SUPERCOLLIDER2.
He also runs a music workshop in improvisation, composition and performance for 12 to 18 years old .
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