Workshops 2007/2008

This workshop aims to explore the interplay between sound, noise, and music through the filters of acoustic instruments and electronic musical interfaces.  The advent of electronic music introduced the task of incorporating these new sounds into compositions for chamber ensembles and other classical environments.  Too often, the product falls short of the challenge-- the electronics provide a backdrop or accompaniment to the acoustic sounds, rather than being wholly integrated into the musical work. 

During the course of the workshop, the following tools will be introduced and developed: methods of amplification for traditional and non-traditional instruments; live processing software programs and their capabilities, with a focus on Max/MSP, SuperCollider, and LiSa; the use of digital editing tools in the creation and manipulation of samples; and considerations in orchestrating electronics with traditional acoustic instruments.  If time allows, Pamplemousse will also explore orchestration and amplification techniques used in several successfully integrated electro-acoustic compositions, including works by John Cage, Kaija Saariaho, and members of Pamplemousse.

As improvisers, we benefit from the inherent freedoms bestowed upon us by the breadth of methods in negotiating aural expression through seemingly spontaneous action and reaction. While the act of improvising allows for freedom of the individual, it does not by definition guarantee an actionable interface between improvisers. This brings forth questions of methodological choices made in the action of improvisation. Is personal freedom to act at a premium? Does this allow for group identity? Can the two co-exist?

While examples of musicians successfully negotiating these issues abound, recognition of the complex interrelationship between personal and group action is central in the process of codifying one’s identity as an improviser. It is through this process of self-analysis that we have derived our methodology for improvising.

It is apparent to us in today’s world, dominated by the capitalist ethos, that personal freedom is placed at a premium. In accepting that self-determination is central to the success of capitalist action, how are we as improvisers able to objectify our place in the cogs of a wheel that can only guarantee the individual real integration through actions determined by one’s best interest, not necessarily the group continuum? Interdependence offers one avenue by which the improviser can negotiate the question of group cohesiveness; namely, that the action of the self will be supported by the autonomous actions of others, thus arriving at an aural conglomerate which pervades the expression of the whole through the contributions of the individual. While we believe this to be a widely successful method for musical interface, we have found that in searching for a truly integrated form of expression it has become necessary for the individual to dissolve oneself wholly in order to arrive at an aural space which exemplifies not a musical conglomerate, but a singular sound space. The music exists somewhere below cultural clichés; universality is sought not through the banalizing of complex and ancient music, but by avoiding cultural implication and attachment altogether.

In all countries the sound of nature and industry can be heard. Our music is not necessarily a celebration of these things, with the ultimate intention of synthesizing into western musical categories. Rather, it is an acknowledgement of a common ground, the wash of sound that exists adjacent to culture and industry; a singular sonic space.

Exploration of Sound and Music (ages 12-18)

This workshop aims to explore the interplay between sound, noise, and music and introduce a new generation of creative minds to the possibilities of electronic media in music. The emphasis will be on collaboration, with students working in small groups to investigate their sound environment using various electronic tools, with instructions and supervision from members of the Pamplemousse Seedlot Project. Our hope is that by scrutinizing the flux and flow between noise and music, sound and composition, the students will begin to look for creativity and creation in the most unexpected places. We want to highlight the overlap between exploration, music, and fun!
Each session will begin with music—a short performance of a contemporary piece, either by resident composers or by iconic modern composers, performed by members of the Seedlot and workshop participants. Improvisatory sound and music games/exercises will also be used as warm-ups. During the course of the workshop, the following tools will be introduced and developed: the creation of field recordings; manipulations of recorded sound using basic digital editing; amplification of household objects using contact mics; and interaction with computer music programs using MIDI instruments. Students will work towards the creation of their own electro-acoustic composition, employing the electronic tools used during the workshop, musical instruments, their voices, and everyday objects. The workshop will culminate in a performance of all the student’s compositions.