Computer Music Association Concert Series Presented at The Vorpal Gallery, San Francisco May 11-12, 1984
Piano Social (1974, rev. 1984) -- J. Bischoff Tape loops made from 16 sound sources are played continually through switching circuits. The occurrence of each sound turns another sound on and off. In addition, a performer turns other tape material on and off at the appearance of certain loop sounds. Sound sources include a piano, a car, an Osterizer, a harpsichord.
Blase (1984) -- T. Perkis A microcomputer coordinates the switching of assorted recorded material (some of it computer generated), and controls a Casio keyboard while monitoring performer controls which set various program parameters.
Candelabra Junction (1983) -- J. Bischoff/T. Perkis A Casio keyboard driven with an external variable clock provides the ground for a mixture of computer generated sound, synthesizer sound and pre-recorded textures.
Portable Memories -- B. Azarm/B. Reinbolt Free experiments with phase techniques mixed with unjustified random deviations. The computer acts as total slave to questionable whims. B. Azarm: Trimangulation and context swapping. B. Reinbolt: Computer design and control.
Faiths Full of Makeup -- B. Azarm/B. Reinbolt Media used in the context of source. Experimental, non-ordinary use of ordinary input to express certain unavoidable personal and social facts. B. Azarm: Performance concept and source mutation B. Reinbolt: Computer design and control.
Exploradores for two Synclaviers and guitars -- F. Harris, J. Marc, T. San Miguel
1) Cayo Largo composer: J. Marc two Synclaviers playing from programs and performed claviers
2) Piel Roja composer: F. Harris two Synclaviers playing from programs and performed claviers
3) Veloz composer: F. Harris two synclaviers playing from programs
4) Entropia composer: F. Harris two Synclaviers playing from programs, and guitar
5) Sierra Madre composer: J. Marc two Synclaviers playing from programs
6) Variations en lo Mismo composers: T. San Miguel, F. Harris, J. Marc two Synclaviers playing from programs and clavier, two guitars
Sound Mixer: Ben Shemuel
The motivation for this suite came from a desire to explore, therefore the title. Synclaviers are designed to make live performance possible with a blend of pre-programmed compositions and live keyboard performances. We wanted to examine some of the possibilities of cooperation between two separate computers, doing their calculations in real time, and live performers doing the same. The score consists of standard music notations for the performers, instructions for the computers, and instructions for the sound mixer.
Some of the parts of the suite are adaptations of compositions previously created by the composers. The final section is a theme and variations chosen as a form for its traditional implications in the arts of cooperation and exploration.
Biographical Information (in the order of composer appearance)
JOHN BISCHOFF was born Dec. 7, 1949 in San Francisco. He received his B.F.A. in 1971 from the California Institute of the Arts and his M.F.A. from Mills College in 197. He studied composition with Robert Moran, James Tenney, and Robert Ashley. He has performed both in the United States and Europe, including the Autumn Festival in Paris 1979. He has been a member of "The League of Automatic Music Composers" since 1977, developing computer-based networks that exhibit musical intelligence. His work appears in a Lovely Music/Vital Records, N.Y. (VR101-06). He also collaborated with Rich Gold and Jim Horton on an article about microcomputer network music that was published in the COMPUTER MUSIC JOURNAL (Vol. 2, No. 3). He presently lives in Oakland and teaches music at City College of San Francisco.
TIM PERKIS studied at the University of Michigan (B.A. 1975) and at California College of Arts and Crafts. Since 1977 he has worked in several collaborative situations including "The League of Automatic Music Composers" (an ensemble devoted to live computer music) and with "Rota-League" (a large ensemble dedicated to live electronic performance) as well as giving solo performances. His music has been heard at Cabrillo Music Festival, New Music America, and on National Public Radio. He currently lives in Oakland and is employed as an electronics engineer.
BEN AZARM's main educational background is in the discipline of cybernetics. With cyberneticism in mind, he has applied himself to the creation of Human Element Musical Environments (HEME). He is the documented inventor of the Trimanulatory Process.
BRIAN REINBOLT taught himself computer programming in order to survive in society as a musical artist. His knowledge of computers has now been mixed with his musical education so that he now designs concepts from a musical and technological point of view. He recently has been perfecting various music performance involving computers and human interaction.
FRANK HARRIS is a native Californian. He received a B.A. in performance of classical guitar from U.C.L.A. in 1980. He performed classical guitar concerts in Europe in 1980. He currently owns a music production company, Third Wave Productions, writing music for film and television with the Synclavier.
JOSEF MARC is a native Californian. Son of jazz composer Dr. John Gantley, he graduated from the Dick Grove School of Jazz Improvisation in Los Angeles in 1972, and continued composition studies at University of the Pacific. He currently lives in Berkeley where he studies composition with Bay Area composer Tom Constanten and works as a freelance computer synthesist.
TOMAS SAN MIGUEL is from the Basque territory of Spain. He studied piano and composition in Madrid, and electronic music at the Berklee College of Music in Boston. He currently lives in Oakland, working as a composer and synthesist for Third Wave Productions.