the Collective Composition Music Makers Workshop
by
Mathius Shadow-Sky
the _________ CCMM Artchêstra
Objective
Artists and composers will be involved to realize a collective composition with no restriction of musical genre and by interacting, but not layering, each different composition proposed in one big board score all together. In Houston, video artists and actors joined the Houston CCMM Artchêstra and together they created a multimedia show, on June 3, 98.
The CCMM workshop consists to realize a collective performance by
sharing a collective composition with no limitation of composers and artists,
exchanging each particular and individual way of composing music and art,
confronting each composition technique in a collective piece of music and art,
merging all individual artistic worlds in one:
it is an enriching experience to open our windows to other worlds.
The confrontation of CCMM Artchêstras consists to realize the CCMM Art Collection through all sort of media to be shown at the same time and at the same place through audio CD, vinyl, cassette, Internet Web page, CD ROM, film or video movie, pictures, drawing, painting, live performance, etc.
One of the options of the collective composition is to use computer music softwares like sequencers, Max, AudioSculpt, PatchWork, etc, sounded with devices like samplers or MIDI synthesizers to simulate a virtual orchestra and use it as an instrument in the CCMM Artchêstra.
The final collective music will be produced to be released on the music market
1. Recorded on multitrack or stereo recorder and Mixed:
first each composition and then the final Collective Composition
2. Mastered and Burned on a CD Master by computer
3. Designed a CD cover by computer
4. Published on CD or CD ROM with a record label
5. Performed in a place outside the campus
6. Confronted with other CCMM Artchêstras
The collective musical score will be written by all the composers and exhibited during the final CCMM performance organized by the workshop's composers outside the campus.
Background
Mathius Shadow-Sky has 20 years of experience in concepting, writing and making music using contemporary approach and techniques, resulting in the production of CDs and concerts' organization. He is currently working to release all his music on CD using a Digital Audio Workstation on Macintosh computer. He uses multitrack recording, editing, sound treatment and MIDI softwares to realize his compositions. He has experience on IRCAM music softwares and the conceptors in Paris are his friends.
His studies and works give him a strong experience in Acoustics, Composition, Recording, Mixing, Editing, Remixing, Mastering, Restoring music, Producing, Management...
-> To participate in the workshop, each student might have a minimum practicing with: MIDI devices, sound recording, Macintosh/PC operating system and minimum math basics. These technical points can be learned by themselves.
master class schedule
1. Conceiving music with philosophical approach
· We will formalize questions regarding the function of music with the context of music according to the intention of the music maker: how to invent a musical concept. Then we will try to understand the imagination through the thought of making music.
-> see the page "conceiving music philosophically"
Literature: Gilles Deleuze and Felix Guattari: What Is Philosophy? (Colombia University Press 1994)
2. Creation of the CCMM orchestra
with or without computer's tools
· constitution of the CCMM orchestra with all instruments including the virtual orchestra, plus the ways of playing them.
· constitution of a virtual orchestra using samplers where the instruments will be stored and played. Composers will make a bank of instruments/sounds = the virtual orchestra, for the collective music piece with at list one of each instrument below:
Literature: Curtis Road: The Computer Music Tutorial (The MIT Press 1996). André Schaeffner: The Origin Of Musical Instruments (Mouton 1980)
Implication 1. Creation and building musical instruments
. with cheap materials
. giant musical instrument
. mechanical [sound sculpture] and electronic musical instrument
. electronic system instrument
Implication 2. Recording / amplification as a compositional attitude + sampling technique
· an acoustic instrument
· an electric instrument
· a self-built instrument
· an object as instrument
· an electronic instrument as an analog synthesizer
· a digital instrument as a computer sounds generator
· a tape recorder playing outdoor-recording as musical instrument
· a turntable playing others' music as musical instrument
· other sounds generators sources
Implication 3. Using electronic processors as musical instrument
· compressor, reverb, delay, parametric filter, equalizer, etc.
· mixing console: fader, mute, filter, auxiliaries...
Implication 4. Scaling musical instruments to extend their tone potential
·to build pitch-scales with mathematical background
·to fit the scale to the instrument or inverse
·frequency analysis software to control and tune the result
·works on graphical metabols and chords
·notation and scoring the different scales
. conception of others chords' grammar
Literature: Scott R. Wilkinson: Tuning in microtonality in electronic music (Hal Leonard Books 1988). Jean Etienne Marie: L'Homme Musical (Arthaud 1976). Mathius Shadow-Sky: Formalization and expansion of scales systems field (unpublished)
Implication 5. Acoustics of musical instruments to explore unknown possibilities
· formantic and spectral graphic analysis of instruments, the limit of FFT analysis for sound recognition
· physical limits of instruments and its extensions by computer tools
· dynamic and acoustic of space: in different type of rooms
· 3D moving sound
Literature: Emile Leipp: Acoustique et Musique (Masson 1976). Fritz Winckel: Music, Sound and Sensation (Dover Publication 1967)
Implication 6. Research of particular techniques to sound musical instruments
[· sound intentions
· precise control of muscle movements
· sound results ] da capo
3. Musical structures, processes and wishes: the game
ensemble of operations and manipulations with fun
· Different types of musical forms and processes according to the Time Conception:
the Cosmogony -> music from all cultures of the world. Confrontation between contemporary writing music technique and traditional world music including all variation of black music.
· Model music: applying models out of music to music: from philosophy, psychology, sociology, mathematics, physics, ethnology, astronomy, etc. · Algorithmic Music: Playing with processes on "para-matters" out-&-in-time: using computer software as PatchWork and/or Max, etc. · FAT music: use microform of sound to generate musical macroform. Proced by analyzing sounds with AudioSculpt (Frequency.Amplitude.Time.) to compose music [including spectral and speach music]. · Dance music and undance music: music functions. ·
· Adjusting our intuition to our Western musical history and culture
Literature: John Blacking: How Musical Is Man? (University of Washington Press 1973). Mathius Shadow-Sky: Digital Matter (Le Centre De La Bombe web site 1997) See the oldies as Boulez, Xenakis, Stockhausen, Kagel, Marie, Barbaud, etc. See the softwares as PatchWork, AudioSculpt, Max, Midi sequencers, etc.
4. Music production:
A · Multitrack recording session on tape recorder or/and multitrack software recorder the real orchestra playing from the collective score,
B · Mixing session on digital or/ and analog mixing console as a creative composition process,
C · Mastering and Premastering session as: how to sounding the FINAL SOUND of the music for the CD with SoundDesigner II and plug-ins as Waves bundle and Masterlist CD, then the "burning" of the CD Master for CD duplication.
D · Designing the CD artwork using a scanner and graphic softwares as Photoshop, Illustrator, Painter, and QuarkXpress, etc. softwares on PowerMacintosh or PC PII.
E · Negotiation with record label to publish the CD of the workshop.
F · Organizing the performance of the piece created in the workshop outside the campus: => financial balance between the needs (fees, place rental, device rental, flyers, posters, etc.) and the incomes (tickets, grants, etc.).
Summary of the Workshop's composition procedure: #1
1. Conception of music
2. Contemporary theory to make music
3. Realization of the CCMM score using computer tools or not.
4. Recording and Editing the final CCMM music.
5. Mastering the CCMM music by computer.
6. CD production by computer: CD Cover and CD Master of the CCMM music.
7. Organizing the concert of CCMM music outside the campus.
8. Producing the CCMM music to be release on music market
Other ways which could be used in the workshop
The second workshop of composition procedure: #2
improvisation as immediate composition for basics to re-composition
1. Organizing and recording an improvisation session by computer,
2. Selecting the "best" musical moments (parts) with sound editing software,
3. Recomposing the parts with multitrack recording software,
4. Rescoring the new music with notation software,
5. Replaying the music according to the new score
with the musicians of the improvisation session,
6. Recording the new session,
7. Finalizing the CD Master,
8. Negotiating with record label to publish the CD,
9. Organizing the concert outside the campus.
The third workshop of composition procedure: #3
REMIXING AN APPRECIABLE COMPOSER FROM THE XX CENTURY CONTEMPORARY MUSIC
1. Making a new music with pieces of the chosen composer in your personal style.
Le centre de la bombe has proposed; Karlheinz Stokhausen as the first composer of its CD collection. See the announcement.
The fourth workshop: a big orchestra and immediate composition: #4
as the Transcultural Symphony Orchestra: le Boxon Ensemble.
Literature
Theory of writing music:
Boulez, Pierre. "Penser la musique aujourd'hui."
Xenakis, Iannis. "Musique formelle", "Musique et Architecture."
Riotte, André. "Formalisation de Structures Musicales."
Marie, Jean Etienne. "L'Homme musical."
Reibel, Guy and Chion, Michel. "Les Musiques Electroacoustiques."
Schaeffer, Pierre. "Traité des Objects Musicaux."
Bosch, Alexis. "Formalisation des Proportions Musicales" (software, personal communication)
Stockhausen, Karlheinz. "Text-Band I, II, III, IV"
Barbaud, Pierre. "La musique, discipline scientifique"
Miereanu, Costin. "Fuite et Conquête du Champ Musical" (Meridiens Klincksieck 1995)
Collective book. "Le Timbre Métaphore Pour La Composition" (IRCAM 1991)
Notation:
Karkoschka, Erhard "Das Schriftbild der neuen musik" (Moeck 1966)
Marie, Jean Etienne Micro-intervalles [notation] in "L'Homme Musical"(Arthaud 1976)
Shadow-Sky, Mathius - "Formalization and expansion of scales systems field"
Antunes, Jorge - "Notaçao na música contemporânea" (Sistrum, Brasília 1989)
Acoustic, physiology, cognition and psychology of music:
Leipp, Emile. "Acoustique et musique"
IRCAM reports: MacAdams, Stefen "L'image auditive"
Université Paris VI, Acoustics reports of the Groupe Acoustique Musique.
Winckel, Fritz. "Music, sound and sensation"
Auriol, Bernard. "La Clef Des Sons" (Eres, Toulouse 1994)
Tomatis, Alfred. "L'Oreille et le Langage", "L'Oreille et la Voix"
Musical Instruments:
Schaeffner, André. "The Origin of Musical Instruments"
Roads, Curtis. "The Computer Music Tutorial"
Shadow-Sky, Mathius. "Sounding things to be musical"
Theorical and Technical support from his friends and colleagues:
Riotte, André. theorist and composer (CRIME) Belgium.
Malherbe, Claudy. composer (CRIME) France.
Assayag, Gérard. Kant, PatchWork software (IRCAM) France.
Battier, Marc. computer and electronic music (IRCAM) France.
Serra, Marie Helene. AudioSculpt software (IRCAM) France.
Favreau, Emmanuel. GRM Tools software (GRM) France.
Sudnik, Tadeusz. music (Polish Radio of Electronic Music), Poland.
Bosch, Alexis. Proportion software (Independant) France.
Mathematical Basis: ensemble theory ·combinatorics ·congruance theory (scaling) ·chaos ·chance ·probabilities ·etc.
Softwares: PatchWork, Elody, Max, Cubase, PlayerPro, Metro3, ProTools, Sound Designer II, SoundEffect, Peak, Deck II, AudioSculpt, GRM Tools, SoundHack, CSound, Cecilia, MSP, RealTime Tuner, TurboSynth, Chant, Pd, Scala, Phonogramme, Hyperprism, Finale, Modalys, LiSa, Lick Machine, CloudGenerator, M, Hyperprism, Bol Processor, SonicWorX, SoundApp, Pluggo, EternalMachine, DINR, Waves, Antares MDT, MasterListCD, Acid, Sound Forge, Samplitude, Cool Edit Pro, Quaderno, AudioMulch, PhotoShop, Illustrator, Painter, Dimension, Graphic Convector, QuarkXPress, Fontographer, PageMill, Dreamweaver, Flash, GifBuilder, LogoMotion, TextureMaker, Magic Texture, RealAudio Encoder, MPecker, QuickTime4, NetScape, Amapi Studio, KPT Bryce, Infini-D, Live Picture, Poser, Premiere, AfterEffect, Acrobat, Word, BBEdit...
DURATION
12 weeks at 2 sessions of 6 hours per week, or 2 weeks full time intensive.
SCHEDULE #2 in one semester
FIRST month: CONCEPTION
week 1: A. Conceiving music with philosophical approach:
intention<->context. concepting-ideaing-thoughting.
B. Composers' propositions for the CCMM Artchêstra performance
week 2: C. Constitution of each individual orchestra and who will be in charge of what?
D. Formalization of all particular ways of playing instruments: muscle control, scaling and sounds result wished on instruments.
week 3: E. Panorama and critic of different compositional techniques: propositions.
F. Recording studio tools as musical instrument: real and virtual orchestras.
week 4: G. Individual Qomposition: each composer will compose his/her own piece with her/his own instrumentation
the ORCHESTRA and the VIRTUAL ORCHESTRA are formed
the individual instrumentation and the orchestra are ready to be composed the 2d month
SECOND month: COMPOSITION
week 5: H. Construction of the general diagram of the collective composition in time and put every individual composition in global rhythm
week 6: I. All individual composition will be include in the global CCMM composition and modified by the necessity of merging all individual pieces in one music
week 7: J. Precise scoring on big score board of all pieces
K. Precise scoring on big score board of the global piece
week 8: L. Rehearsal of the CCMM Artchêstra
organization of the performance at the beginning of the 3rd month
THIRD month: PRODUCTION
week 9: M. Multitrack recording of individual pieces
N. Multitrack recording of CCMM piece
week 10: O. Mixing, Editing (re-composing), Mastering
P. Looking for a record label to publish and distribute the CCMM Artchêstra CD
week 11: Q. Design of the CD cover, the flyer, and the poster of the CCMM Artchêstra
R. Rehearsal of the CCMM Artchêstra
week 12: S. Rehearsal of the CCMM Artchêstra
T. Organization of the performance: advertising, filming, recording...
DATES OF THE CCMM ARTCHESTRA performance: _________________
REQUIREMENTS FOR THIS WORKSHOP
4 PLACES
1. a place for theorical courses
1. a place to compose for CCMM orchestra and virtual orchestra
1. a place for rehearsal
2. a place to record each instrument in computer and in a samplers
2. a place for multitrack recording and mixing
2. a place for mastering
3. a place to design the CD cover, the flyer and the poster of the concert
3. a place with phone and fax to contact the record label companies
4. a place for the performance
EQUIPMENT
1. a Macintosh or PC computer with MIDI interface, a MIDI sequencer software and a sampler with headphone and mic for each composer (if possible, if not, composers take turns).
2. a PowerMacintosh with Digidesign ProTools or a PC PII with Samplitude or Korg 1212 or Yamaha DSP Factory card and interface, with softwares as ProTools IV or Deck II, Sound Designer II or Peak, for Mac and Sound Forge with plug-ins as Waves Bundle, Samplitude etc. A DAT recorder as Tascam DA30 and 2 different monitoring like Yamaha NS 10M, Genelec 1031A, boombox and headphone AKG K240.
3. One Macintosh or PC with a notation editor software as Finale and drawing software as Illustrator and Xpress with B&W printer.
4. One PowerMacintosh or PC PII with picture and text designer softwares like Photoshop, Illustrator, Painter, Quark Xpress, one scanner and one color printer.
5. A complete multitrack recording studio equipment with peripherics.
PEOPLE
1. Composers
2. Musicians available for the project to play in the orchestra: the CCMM Artchêstra
3. Anybody who would like to help to realize the CCMM project.
REMARK:
All these requirements are suggestions.
Mathius Shadow-Sky, Miami 6/6/1998.
Mathius Shadow-Sky's contact: e-mail
Mathius Shadow-Sky's curriculum -> `¤Ð𦰷±´
Mathius Shadow-Sky's biophony -> date by date