Waves of Change was my final thesis performance that incorporated classical music performance with electronic music, video, live electronics, and dance. The impetus behind the performance arose from attempting to complete two degrees at the School of Music, Theater and Dance over the past five years. While working in these programs, I realized that the incorporation of classical music into multimedia pieces, and vice versa, was, in my mind, both desirable and inevitable. While Waves of Change does not meld these two practices intrinsically - classical music performance and multimedia performance do not exist together in one piece, they do put them next to each other. Hopefully in the future these two practices can be more fully integrated into a holistic art form.
The program is four sets of two pieces, for a total of eight pieces. Each classical piece has a corresponding multimedia piece that was influenced in some way by that classical piece. Hands of Time was influenced by Muczynski’s Time Pieces; Tides of Light by Schumann’s Fantasiestücke; Digital Aesthetic by Gerswhin’s Three Preludes; and Chrysanthemum by Debussy’s Première Rhapsody. Below are performances of three of the digital pieces.
Tides of Light
Tides of Light was inspired by glinting shards of a broken blue bottle in the early morning light. The piece attempts to visually explore light and its component colors. The music is live, improvised clarinet that is processed live to create a deep, immersive aural environment.
Hands of Time
Hands of Time is based on two concepts: time as a ticking clock, and hands as part of the human body. The frantic tempo of the beginning movement gradually slows to the last movement, showcasing motion from highly technological and mechanical to highly organic. Two dancers perform behind large curtains that take advantage of backlighting to make large shadows.
Digital Aesthetic uses a MAX/MSP/Jitter patch I built to realize an aesthetic that might not be found in nature. The audio utilizes pink and white noise, sine and saw waves, and synthesized bell sounds to create its aural soundscape. The patch was built to be played live, giving the performer real-time control over all aural and visual aspects.