From the German Program Notes on the first Performance 2023

 

We again use mechanical-acoustic (mechatronic) sound generators that are largely controllable in analogue. Here is an extended variant of a tenor string psaltery with up to 16 computer-controllable bows developed by Gerber. For the psaltery part, he composed the patterns from algorithms, which are finally recorded on a computer score and as an (audio) video of the bow activity. This video to be projected in the concert is a directly connected visualisation as "fixed media". Added to this in the concert is the flute part. Karina Erhard is again responsible for its composition and live performance. With passionate use of "old school" production means, we are given the direct visualisation of the music in the video, authenticity in the do-it-yourself sound object, portability and spontaneity. And all this with relatively complex music.
Means of production have always been tools of control and limitation, not only in musical life. We advocate thinking along with the concept of ecology in the discourse of current sound art and the AI hype in media technology.

 

Gerber/Erhard

 

(long version, festival submission 2024)

 

Abstract

 

Produktionsmittel: For improvising soloist and bowed psaltery with 15 computerized bows on video.
This work contains an all-encompassing design. From the extension of the bowed psaltery with 15 computerized bows to the algorithmic composition and the playback as a playback video to the flute live.

 

Technical preparation

 

We again use mechanical-acoustic (mechatronic) sound generators, which are largely analog controllable. Here is an extended version of a tenor string psaltery with 15 self-developed computer-controlled bows with linear drive.
The industrially manufactured tenor bowed psaltery contains 30 strings as standard, 15 of which were removed to make room for the self-developed linear drive and the bows. The tuning was determined as a non-consecutive free-tonal selection. The string lengths vary considerably due to the construction.
The linear drives consist of analog circuitry with power operational amplifiers. The pressure force of the bows comes mainly from gravity. With steep impulses from the drives, the bows can lift off, resulting in unique percussion sounds. This was evaluated with algorithms and used in the composition.

 

Evaluation

 

The analog setup is quite fragile, which is why transporting it to a concert performance is associated with great risk or lengthy adjustment work.
We know of no similar previous psaltery version of this complexity. The independent access to all strings and the free tuning offer a wide range of musical possibilities from minimal music to microtonality. This realizes my many years of work on “computer music without loudspeakers” (i.e. without an A/D converter)

 

Composition Process

 

Patterns were selected from algorithms for the psaltery voice, which were finally recorded on a computer score and as a (sound) video of the BOW ACTIVITY.
The psaltery part was recorded as a video and represents the first step in the composition process. This video later serves as a playback video in the concert.
A human instrumentalist is added to the concert. At the premiere, this was the flautist Karina Erhard. Other instruments are also considered.
The live part of the world premiere for flute was co-composed by flutist Karina Erhard. For this purpose, she received the play-along video and an orientation score with the 15-track BOW ACTIVITY as an additional video. After analyzing this material, she co-composed a partially improvised part for the concert.
The Score
Due to the impressively precise timing of the events shown, the use as an orientation score is obvious. Because of the direct visualization of the complexity of my composition, various people have suggested showing this video for the public. I only put it online for study purposes. So a “non-conventional score”! I trust the visualization through the filmed bows. Perhaps this should be improved instead.

 

In the Concerts
The bow movements are defined by analog Control Voltages CV. The mechanical realization can in addition be modulated with artifacts. Nevertheless, the representation of the 15 tracks as a 15-voice score is a useful and fascinating tool for analysis or for reading along. However, it is important to note that the y-coordinate of each track represents the bow position and not the volume or amplitude. As a special feature of the arrangement, the high notes are at the bottom of the graph.owed psaltery is presented as a projection with its corresponding soundtrack. The flautist sees the orientation score on her iPad. The audience sees the bowed psaltery as a projection and the live performer. The video of the world premiere in Munich (9/2023) is offered for the JSSA Misic Festival. Further versions were co-composed and performed: with rapper RTS Natural at SEAMUS 2024 in NYC and furthermore in a trio with flute and tenor horn (Friedemann von Rechenberg), now in the physical presence of the string psaltery in Munich (4/2024).
Aesthetics
The “ play along video” to be projected in the concert is a directly connected visualization as “fixed media”.
Commentary on the premiere “The flute enters into conversation with the psaltery voice, initially providing the impulse and then following the sections and harmonies of the psaltery voice. In doing so, it improvises between complement and opposition."
The duo partner in the concert is a human instrumentalist voice (eg. rapper, woodwinds, double bass ect). The aforementioned soloist is responsible for their improvisation/composition and live performance.
With passionate use of “old school” means of production, we are given the direct visualization of the music in the video, authenticity in the do-it-yourself sound object, portability and spontaneity. And all this for a relatively complex piece of music.
Title

 

Produktionsmittel (German “Means of production”) have always been tools of control and limitation, not only in the world of music. We advocate thinking about the concept of ecology in the discourse of contemporary sound art and the AI hype in media technology.