25. March 2007, 01:19


R. Henke: In the Age of Super Computing

Robert Henke macht sich in einer Fortsetzungsgeschichte Gedanken über die Entwicklung des Livesets im Zeitalter der Digitalisierung.

Kapitel Eins: Vom klassischen zum ‘unsichtbaren’ Instrument, oder wie elektronische Musik die Stellung des Musikers verändert hat.

If you replace a musician by a sound generating device directly controlled by a score, you get rid of the unpredicteable behaviour of that human being and you gain more precise control over the result. A great range of historical computer music and certainly a huge portion of the current electronic (dance) music has been realised without the involvement of a musician playing any instrument in realtime. Instead, the composer acts as a controller, a conductor and a system operator, defining which element needs to be placed where on a timeline. This process is of an entirely different nature from actually performing music, since it is a non-realtime process, and is therefore much closer to architecture, painting, sculpting, or engineering.