Do - Stolet, Jeffrey
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Do: Notes about Action in the Creation of Musical Performance with Data-driven Instruments is a work that examines aspects of real-time performance of electroacoustic music. While technical discussions are unavoidably necessary when examining a technology-centric topic such as musical performance with digital musical instruments, the uniqueness of this text derives from its commitment to presenting material and offering solutions from a musical perspective. To address the complex topic of musical performance with digital instruments, an all-encompassing activity that involves musical…mehr

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Do: Notes about Action in the Creation of Musical Performance with Data-driven Instruments is a work that examines aspects of real-time performance of electroacoustic music. While technical discussions are unavoidably necessary when examining a technology-centric topic such as musical performance with digital musical instruments, the uniqueness of this text derives from its commitment to presenting material and offering solutions from a musical perspective. To address the complex topic of musical performance with digital instruments, an all-encompassing activity that involves musical composition, musical performance, and instrument building, many sub-areas are examined. Some of these sub-areas relate to the data-driven instrument itself. In other cases, concentration is placed on topics that have been glossed over or omitted in previous examinations of the subject, topics that have been unnoticed or under-appreciated, or topics that have been fundamentally misrepresented or misunderstood. The text provides insight into the conceptualization and classification of performance interfaces, basic data mapping operations, and instrumental mutability. The text also includes discussions about sensor embodiment, the development of a complete performance space, and the role of the performer in this emerging type of musical expression. Additionally, the text presents discussions about practice, performance anxiety, and compositional transportability. Along the path the text examines and explains with greater preciseness and from a musical perspective tracking technologies and addresses often stated misconceptions about tracking as it functions in musical performance. Because musical audiences are, in fact, multi-modal in their understanding of matters related to how the visual dimension impacts the comprehension of the sonic domain, a concept of cinematics in musical performance is proffered. The text finds its completion with a consideration of the musical and cultural values of virtuosity.
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