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Table 1 Summary of documents and data collected for this research project.

Table 1 Summary of documents and data collected for this research project.

Related Figures (7)

Figure 1 Orchestration and instrument placement in Sculpting the Air. Extracts reproduced with kind permission of C.F. Peters Leipzig—London—New York © 2015. auctor (poOsiuon 1) OF DelWEeeN Ni and the Ment NMect (POsiuon 2). Nordin’s original idea was to propose a kind of stereophonic arrangement, but he finally transposed this idea into the structuration of the piece, which has two contrasted parts (Figure 2): ‘one that was very wild and one that was very soft and slow, dolce.’ (RI 2). The spectral content of each part is articulated around specific sound models the composer had analysed. The first part, very erratic, revolves around the spectral analysis of piano resonant sounds, obtained by playing inside the instrument, while the second is based on a microtonal scale inspired by Swedish folk music.
Figure 1 Orchestration and instrument placement in Sculpting the Air. Extracts reproduced with kind permission of C.F. Peters Leipzig—London—New York © 2015. auctor (poOsiuon 1) OF DelWEeeN Ni and the Ment NMect (POsiuon 2). Nordin’s original idea was to propose a kind of stereophonic arrangement, but he finally transposed this idea into the structuration of the piece, which has two contrasted parts (Figure 2): ‘one that was very wild and one that was very soft and slow, dolce.’ (RI 2). The spectral content of each part is articulated around specific sound models the composer had analysed. The first part, very erratic, revolves around the spectral analysis of piano resonant sounds, obtained by playing inside the instrument, while the second is based on a microtonal scale inspired by Swedish folk music.
RENIN Mek Heese RRA roe | SyeneFerm — tDuyrerin Ean n the first part of the piece, the conductor never uses the bells of the left tree positioned in front of him. He only uses the unevenly suspended bells of the right tree, as pendulums that trigger different samples when entering into the Kinect motion capture area. Bells are not aligned at the same level, to ensure a variety of pendular motions. They should under no circumstances collide with one another. Electronic effects managed by the right Kinect are linked to the bells’ motion, whereas those managed by the left Kinect are directly controlled by the conductor’s eft hand.
RENIN Mek Heese RRA roe | SyeneFerm — tDuyrerin Ean n the first part of the piece, the conductor never uses the bells of the left tree positioned in front of him. He only uses the unevenly suspended bells of the right tree, as pendulums that trigger different samples when entering into the Kinect motion capture area. Bells are not aligned at the same level, to ensure a variety of pendular motions. They should under no circumstances collide with one another. Electronic effects managed by the right Kinect are linked to the bells’ motion, whereas those managed by the left Kinect are directly controlled by the conductor’s eft hand.
Figure 3 Notational system employed by the composer to indicate the control of electronic effects through bell motions or hand gestures, and for playing the bells: (a) m. 01, (b) mm. 21-24, (c) mm. 141-144, (d) mm. 167-170 and (e) mm. 235-239. Extracts repro- duced with kind permission of C.F. Peters Leipzig—London—New York © 2015.
Figure 3 Notational system employed by the composer to indicate the control of electronic effects through bell motions or hand gestures, and for playing the bells: (a) m. 01, (b) mm. 21-24, (c) mm. 141-144, (d) mm. 167-170 and (e) mm. 235-239. Extracts repro- duced with kind permission of C.F. Peters Leipzig—London—New York © 2015.
Figure 5 (a) Jesper Nordin, Marc Desmons and Manuel Poletti (from right to left), dis- cussing the calibration of the Kinect sensors. (b) Measurements for the calibration of the Kinect cameras and the position of the bell tree (Marc Desmons on the right and Manuel Poletti on the left). (c) The conductor’s visual monitoring for motion capture during trials (it will be positioned next to his music stand). (d) Marc Desmons rehearsing in IRCAM’s studio a week before the premiere. (e) The Gestrument app installed on two iPad.
Figure 5 (a) Jesper Nordin, Marc Desmons and Manuel Poletti (from right to left), dis- cussing the calibration of the Kinect sensors. (b) Measurements for the calibration of the Kinect cameras and the position of the bell tree (Marc Desmons on the right and Manuel Poletti on the left). (c) The conductor’s visual monitoring for motion capture during trials (it will be positioned next to his music stand). (d) Marc Desmons rehearsing in IRCAM’s studio a week before the premiere. (e) The Gestrument app installed on two iPad.
Figure 6 Marc Desmons’ performing score with his annotations. (a) mm. 16—20: Desmons indicates the bell (*5’) he has to set in motion with his left hand (‘L.H.’) and specifies he has to conduct with his right hand (‘diriger R.H.’). (b) mm. 21-24: The time segment of the loop is extended and the gesture is modified since Desmons has now to enter in the middle of the motion capture area (‘entrer au milieu du champ!’) before moving towards the top right. (c) mm. 190-194: Desmons has to switch hands for conducting the ensemble and simultaneously play the bells (with the right hand) and Gestrument (with the left hand) (d) mm. 219-224: Time segment and gesture for controlling the freeze effect are modified and Desmons mentions to beat the pulse with his head (‘téte’) since his arms are spread at this moment. He also has to anticipate the page-turning action (‘tourne’). Extracts repro- duced with the kind permission of Marc Desmons and C.F. Peters Leipzig—London— New York © 2015.
Figure 6 Marc Desmons’ performing score with his annotations. (a) mm. 16—20: Desmons indicates the bell (*5’) he has to set in motion with his left hand (‘L.H.’) and specifies he has to conduct with his right hand (‘diriger R.H.’). (b) mm. 21-24: The time segment of the loop is extended and the gesture is modified since Desmons has now to enter in the middle of the motion capture area (‘entrer au milieu du champ!’) before moving towards the top right. (c) mm. 190-194: Desmons has to switch hands for conducting the ensemble and simultaneously play the bells (with the right hand) and Gestrument (with the left hand) (d) mm. 219-224: Time segment and gesture for controlling the freeze effect are modified and Desmons mentions to beat the pulse with his head (‘téte’) since his arms are spread at this moment. He also has to anticipate the page-turning action (‘tourne’). Extracts repro- duced with the kind permission of Marc Desmons and C.F. Peters Leipzig—London— New York © 2015.
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MusicologyElectroacoustic MusicContemporary MusicLive Electronic Music
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