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Live Electronics in Practice: Approaches to training professional performers

Published online by Cambridge University Press:  11 July 2013

Jamie Bullock ,
Lamberto Coccioli ,
James Dooley  and
Tychonas Michailidis
Jamie Bullock*
Affiliation:
Birmingham Conservatoire, Birmingham City University, Birmingham, B3 3HG, UK
Lamberto Coccioli*
Affiliation:
Birmingham Conservatoire, Birmingham City University, Birmingham, B3 3HG, UK
James Dooley*
Affiliation:
Birmingham Conservatoire, Birmingham City University, Birmingham, B3 3HG, UK
Tychonas Michailidis*
Affiliation:
Birmingham Conservatoire, Birmingham City University, Birmingham, B3 3HG, UK
*
E-mails: [email protected]; [email protected]; [email protected]; [email protected]
E-mails: [email protected]; [email protected]; [email protected]; [email protected]
E-mails: [email protected]; [email protected]; [email protected]; [email protected]
E-mails: [email protected]; [email protected]; [email protected]; [email protected]
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Abstract

Teaching live electronic music techniques to instrumental performers presents some interesting challenges. Whilst most higher music education institutions provide opportunities for composers to explore computer-based techniques for live audio processing, it is rare for performers to receive any formal training in live electronic music as part of their study. The first experience of live electronics for many performers is during final preparation for a concert. If a performer is to give a convincing musical interpretation ‘with’ and not simply ‘into’ the electronics, significant insight and preparation are required. At Birmingham Conservatoire we explored two distinct methods for teaching live electronics to performers between 2010 and 2012: training workshops aimed at groups of professional performers, and a curriculum pilot project aimed at augmenting undergraduate instrumental lessons. In this paper we present the details of these training methods followed by the qualitative results of specific case studies and a post-training survey. We discuss the survey results in the context of tacit knowledge gained through delivery of these programmes, and finally suggest recommendations and possibilities for future research.

Type
Articles
Information
Organised Sound , Volume 18 , Special Issue 2: Best Practices in the Pedagogy of Electroacoustic Music and its Technology , August 2013 , pp. 170 - 177
Copyright
Copyright © Cambridge University Press 2013 

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References

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