Free electroacoustic improvisation, a curious case of memory and spontaneity
The rather frequent case of improvised electroacoustic/experimental music poses interesting questions in the light of the Conference’s themes. Is this practice “instantaneous” composition? Is it “prepared semi-improvisation” -? or even, a simpler case of performing live a series of gestures, manipulations and sound processing techniques well-prepared in advance? I.e. a case of performance rather than true improvisation?
In this latter case, electroacoustic performance is directly the result of the past work of the performer, of his/her culture, memory and habits.
On the other hand, it seems to me that, often, something really unprepared, spontaneous and truly improvised happens during free improvisation. Notably because sound in situ is so complex that it is very difficult to fully apprehend or memorize and, thus, cannot completely be prepared in advance.
As an intermediate step between those positions, let us also consider the devices, tools and musical instruments involved. In this case, the material and digital forms cannot be improvised but are the result of many hours of work before the performance.
Could it be that free electroacoustic improvisation sits at the crossroads between planned construction (of the devices/software) and spontaneous musical imagination and activity?
This conference will try to go further in this analysis, based on 40 years of personal electroacoustic improvisation. And will be illustrated by live examples.
Keywords: memory, improvisation, electro-acoustic music
Biography
Martin Laliberté Composer and Tenured Professor University Gustave-Eiffel. Was born in Quebec in 1963. Following musical studies since childhood, he studied musical composition and computer music in Quebec, California and France, 1980-1990. After working freelance as a composer in Hollywood and in Quebec, he moved to Paris in 1988 where he finished a Ph.D. at IRCAM in 1994. He was appointed Professor at the Music Department of the University of Burgundy in 1995 and at University Gustave-Eiffel in 2002, where he teaches composition and electroacoustic music. His research centers on the esthetics and practice of contemporary music and the emergence of electronic and computer musical instruments. He has written chamber music and interactive computer music, as well as lyrical or orchestral pieces. His piece les abandons de nos miroirs has received the SACEM award at the international orchestral music contest of Besançon. His third electroacoustic chamber opera, Mes mains écartent le jour was premiered in 2018.
Université Gustave Eiffel, France – martin.laliberte@univ-eiffel.fr