{"id":1282,"date":"2019-11-30T11:39:53","date_gmt":"2019-11-30T11:39:53","guid":{"rendered":"http:\/\/michael-edwards.org\/wp\/?p=1282"},"modified":"2019-11-30T17:08:00","modified_gmt":"2019-11-30T17:08:00","slug":"ma-bel","status":"publish","type":"post","link":"https:\/\/michael-edwards.org\/wp\/?p=1282","title":{"rendered":"ma bel"},"content":{"rendered":"<p><em><a href=\"https:\/\/michael-edwards.org\/work.php?workid=458\" target=\"_blank\" rel=\"noopener noreferrer\">ma bel<\/a>, m<\/em>y new piece for Jean-Francois Laporte&#8217;s compressed-air instrument, <a href=\"http:\/\/totemcontemporain.com\/instruments\/babel-table\/\" target=\"_blank\" rel=\"noopener noreferrer\"><em>the babel table<\/em><\/a>, was premiered in Canada at the <em>Conservatoire de Musique de Montr\u00e9al<\/em> on October 4th 2019. The featured image above is of Jean-Francois (left) along with <a href=\"https:\/\/quasar4.com\/\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Quasar<\/em> Quartet<\/a> comrades Jean-Marc Bouchard and Marie-Chantel Leclair. What they&#8217;re staring at is a laptop. Using <a href=\"https:\/\/cycling74.com\/products\/max-features\" target=\"_blank\" rel=\"noopener noreferrer\"><em>MaxMSP<\/em><\/a>, this plays a video of the score in sync with the live triggering of lots of samples.<\/p>\n<p><a href=\"https:\/\/michael-edwards.org\/wp\/wp-content\/uploads\/MaBelMaxScreenshot.png\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-1287\" src=\"https:\/\/michael-edwards.org\/wp\/wp-content\/uploads\/MaBelMaxScreenshot-1024x536.png\" alt=\"ma bel screenshot\" width=\"620\" height=\"325\" srcset=\"https:\/\/michael-edwards.org\/wp\/wp-content\/uploads\/MaBelMaxScreenshot-1024x536.png 1024w, https:\/\/michael-edwards.org\/wp\/wp-content\/uploads\/MaBelMaxScreenshot-300x157.png 300w, https:\/\/michael-edwards.org\/wp\/wp-content\/uploads\/MaBelMaxScreenshot-768x402.png 768w, https:\/\/michael-edwards.org\/wp\/wp-content\/uploads\/MaBelMaxScreenshot-1536x804.png 1536w, https:\/\/michael-edwards.org\/wp\/wp-content\/uploads\/MaBelMaxScreenshot-2048x1072.png 2048w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><\/p>\n<h2>babel table<\/h2>\n<section class=\"pure-u-md-1-2 pure-u-xl-1-3 piece-section\">\n<div class=\"piece-box underline-thin underline-instruments\">\n<div class=\"rel\"><span class=\"abs top-0 piece-title width-100p font-oswald font-oswald-regular font-white\"><img decoding=\"async\" class=\"blend-overlay width-2em alignright rel top-1em\" src=\"http:\/\/totemcontemporain.com\/wp-content\/themes\/totheme\/images\/picto_instrument.svg\" \/> <\/span><\/div>\n<\/div>\n<\/section>\n<section class=\"pure-u-md-1-2 pure-u-xl-1-3 piece-section\">\n<div class=\"piece-box underline-thin underline-instruments\">\n<div class=\"piece-description font-open font-darkgray\">\n<p>The <em>babel table<\/em> is Jean-Francois&#8217; \u201call in one\u201d instrument that combines the following:<\/p>\n<ol>\n<li>the <em>pipe<\/em>: a white plastic pipe blown with compressed air and using a hand-stretchable latex membrane on one end and a controllable stiff gate on the other;<\/li>\n<li>the <em>bowl<\/em>: a simple metal bowl covered with a latex membrane and excited by a pipe delivering compressed air blown through a trombone mouthpiece to emit a wide range of frequencies;<\/li>\n<li>the <em>acoustic oscillators<\/em> or <em>insects<\/em>: a compressed-air wind instrument that emits very high frequencies;<\/li>\n<li>the <em>vibrating membranes<\/em> or <em>telescopiques<\/em>: another wind instrument that emits a range of mid- to high-frequencies and incorporates a depressable membrane which can be used to glissando and tune the pitches.<\/li>\n<\/ol>\n<h2>video of the premiere<\/h2>\n<p><iframe loading=\"lazy\" title=\"ma bel\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/_vMiwU4VAk4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<h2>instrument progression<\/h2>\n<p><a href=\"https:\/\/en.wikipedia.org\/wiki\/Gray_code\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Gray Codes<\/em><\/a> are used to determine the ordering of the instruments. In each of the six sections of the piece, there are four instrument groupings. Sometimes only one of the four instruments is used, other times one or more instruments continue to sound while the main instrument is switched. The use of <em>Gray Codes<\/em> allows a fluent movement between the instruments, as such binary code sequences are designed to produce numbers which change in only one binary digit rather than to increment whole numbers. In the case of this piece, each digit represents an instrument. So in the following list, generated by calling a <em>Common Lisp<\/em> function to generate gray codes with four bits, we proceed through the decimal numbers 0, 1, 3, 2, 6 rather than 0, 1, 2, 3, 4 etc., as the change in binary digits from decimal 1 to 2 would imply moving from &#8220;0001&#8221; to &#8220;0010&#8221; (which of course would mean two actions: turning one bit on and another off):<\/p>\n<pre>(gray 4) \r\n(\"0000\" \"0001\" \"0011\" \"0010\" \"0110\" \"0111\" \"0101\" \"0100\" \"1100\" \"1101\" \"1111\" \"1110\" \"1010\" \"1011\" \"1001\" \"1000\")<\/pre>\n<\/div>\n<p>&nbsp;<\/p>\n<p>The instrument ordering\/progression is as follows, where the main instrument comes first and instruments continuing to sound follow, if at all, in parentheses:<\/p>\n<ol>\n<li>Pipe -&gt; Insects (Pipe) -&gt; Telescopiques (Insects Pipe) -&gt; Pipe (Telescopiques)<\/li>\n<li>Letter A: Bols (Telescopiques Pipe) -&gt; Insects (Telescopiques Bols Pipe)<br \/>\n-&gt; Pipe (Insects Bols) -&gt; Pipe (Bols)<\/li>\n<li>Letter B: Bols -&gt; Insects (Bols) -&gt; Telescopiques (Insects Bols) -&gt; Bols (Telescopiques)<\/li>\n<li>Letter C: Telescopiques -&gt; Insects (Telescopiques) -&gt; Insects -&gt; Telescopiques (Insects)<\/li>\n<li>Letter D: Telescopiques -&gt; Bols (Telescopiques) -&gt; Insects (Telescopiques Bols) -&gt; Bols (Insects)<\/li>\n<li>Letter E: Bols -&gt; Pipe (Bols) -&gt; Insects (Bols Pipe) -&gt; Telescopiques (Insects Bols Pipe))<\/li>\n<\/ol>\n<p>By the way, I&#8217;m certainly not the first to use <em>Gray Codes<\/em> for artistic purposes. Samuel Beckett is known to have been interested in their use for determining the entry and exit of actors on the stage of his theatre works.<\/p>\n<\/div>\n<\/section>\n<h2>score<\/h2>\n<p>The very simply notated score for the <em>babel table <\/em>and sampler parts was generated in MusicXML with my <a href=\"https:\/\/www.michael-edwards.org\/sc\" target=\"_blank\" rel=\"noopener noreferrer\"><em>slippery chicken<\/em><\/a> software, then edited in <em>Steinberg&#8217;s<\/em> notation software <em>Dorico. <\/em>To generate the video (without audio of course) I simply made a screen recording of <em>Dorico&#8217;s <\/em>playback facilities. It would be preferable, if it were possible, to leave the play head (the vertical green line) in the middle of the window and have the music scroll constantly to update the current position. That way you could always see what was and what will be, rather than have sudden jumps. But this isn&#8217;t possible in <em>Dorico<\/em> (yet?):<\/p>\n<p><iframe loading=\"lazy\" title=\"ma bel score\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/V0opWmMabKU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>As the pitches in the computer parts are mapped to sampler banks there is not usually a relationship between the perceived and notated pitches. Similarly, pitches in the <em>babel table<\/em> part are relative, with middle D being the lowest and B5 the highest pitch notated. Thus neither part represents exactly what should sound in the pitch domain, rather each is an action line.<\/p>\n<h2>ambisonics<\/h2>\n<p>Audio channel output routing is handled by the <a href=\"https:\/\/www.zhdk.ch\/en\/research\/icst\/software-downloads-5379\/downloads-ambisonics-externals-for-maxmsp-5381\" target=\"_blank\" rel=\"noopener noreferrer\"><em>ICST ambisonics objects<\/em><\/a> for MaxMSP. Third-order ambisonics output internal to this patch can be configured to physical outputs ranging from 2-16 channels using paths that involve movement around the audience as well as, optionally, up and down. I was especially happy to have taken this route in designing the diffusion as just a couple of days before the premiere I was informed that the performance space had not only an octophonic speaker system on the audience level but also another one above the listeners. Reconfiguring the ambisonics sound paths for this unexpected feature was thus much more straightforward than moving from a fixed eight-channel system to a fixed sixteen.<\/p>\n<h2 class=\"title\">programme note<\/h2>\n<blockquote><p><i>ma bel<\/i> was written for Jean-Francois Laporte and his composite compressed-air instrument, the <i>babel table<\/i>. This name works in both French and English, if the word order is reversed. And the connection to the Old Testament myth explaining the origin of the world&#8217;s different tongues is clear.<\/p>\n<p>The title <i>ma bel<\/i> transposes merely one character of <i>ba-bel<\/i> but in doing so offers several meanings to speakers of different languages: as a homonym in French (<i>ma belle<\/i>) it could refer to <i>my beautiful (wife, daughter, belle-s\u0153ur, etc.)<\/i> or imply the more complete <i>ma belle vie<\/i>; in English it could be misheard as <i>marble<\/i> (the stone but also the child&#8217;s toy) or refer to <i>Mabel<\/i>, the woman&#8217;s name; but in Arabic <i>ma bel<\/i> means <i>what but<\/i>, after which I particularly enjoy question marks and perhaps even a <i>why?<\/i>\u2014good things to ask about a piece such as this.<\/p>\n<p>So then: so few symbols, and even fewer syllables, but so much meaning and context. And <i>babel<\/i> connects back beautifully to this in that, obscured from its mythological context, it refers more generally to a confusing m\u00e9lange (as in mixture, not the Viennese coffee :): a m\u00eal\u00e9e, in the non-violent sense, of sounds and voices or a noisy, confused scene in general. Such is <i>ma bel<\/i>: a plethora of unrelated samples mixed with the potent sounds of Jean-Francois&#8217; instrument, all driven by a score which is digital yet conventionally notated.<\/p>\n<p>What you see or read, however, is by no means what you get (I&#8217;m referring now particularly to the score). The symbols need even more translation, interpretation, and <i>making sense of<\/i> than usual. And that&#8217;s not just the musician&#8217;s job but the audiences&#8217; too (as always), given the sound structures on offer.<\/p>\n<p>And further: <i>ma bel<\/i> integrates strongly emotive vocal utterances from a certain Austrian female; samples that are prelingual but often guttural (synonyms perhaps here: <i>before the tongue<\/i>, as in before language as well as the muscle)\u2014even guttural in both senses: articulated in the throat and perhaps unpleasant or strange\u2014and most definitely communicative, in a nonsensical way, <i>bien s\u00fbr<\/i>.<\/p>\n<p>This is what music is: by no means a language but nevertheless able to communicate or rather provoke a wide variety of experiences, and transporting meaning (or not) to individuals formed both collectively and uniquely. (<i>Ahh\u2026 ma bel(le musique)!<\/i>)<\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"<p>ma bel, my new piece for Jean-Francois Laporte&#8217;s compressed-air instrument, the babel table, was premiered in Canada at the Conservatoire de Musique de Montr\u00e9al on October 4th 2019. The featured image above is of Jean-Francois (left) along with Quasar Quartet comrades Jean-Marc Bouchard and Marie-Chantel Leclair. What they&#8217;re staring at is a laptop. Using MaxMSP, [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":1283,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11,137],"tags":[3,186,103,4,159,84,187],"class_list":["post-1282","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-composition-documentation","category-performances","tag-algorithms","tag-babel-table","tag-canada","tag-common-lisp","tag-dorico","tag-maxmsp","tag-totem-productions"],"_links":{"self":[{"href":"https:\/\/michael-edwards.org\/wp\/index.php?rest_route=\/wp\/v2\/posts\/1282","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/michael-edwards.org\/wp\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/michael-edwards.org\/wp\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/michael-edwards.org\/wp\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/michael-edwards.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1282"}],"version-history":[{"count":8,"href":"https:\/\/michael-edwards.org\/wp\/index.php?rest_route=\/wp\/v2\/posts\/1282\/revisions"}],"predecessor-version":[{"id":1327,"href":"https:\/\/michael-edwards.org\/wp\/index.php?rest_route=\/wp\/v2\/posts\/1282\/revisions\/1327"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/michael-edwards.org\/wp\/index.php?rest_route=\/wp\/v2\/media\/1283"}],"wp:attachment":[{"href":"https:\/\/michael-edwards.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1282"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/michael-edwards.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1282"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/michael-edwards.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1282"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}