The Cybermusic Project
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The Cybermusic Project
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| Gallery Workshop Contact |
| Overview |
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The Cybermusic Project is designed as an active and practical contribution toward
a new generation of common and inter-subjective patterns of musical communication that
are originating from the specific characteristics of the electro-acoustic media.
The intention of the project is presented by the following sections: All examples and references used in this presentation are an integral part of the Cybermusic project website at www.cm-gallery.com. |
| 1. Description of the musical concept |
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The musical vision of Cybermusic includes considerations of
musical style
(inner-musical interaction of musical objects) and
musical communication
(inter-personal communication with music).
Stylistic considerations include:
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| Cybermusic Style |
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Specific characteristics of electronic sound and sound structure generation What is Cybermusic? Musical styles of the past are mainly based on periodical structures of rhythm and tonality as an outcome of mechanical sound generation and the necessity to synchronize rhythmical and tonal actions of singing and playing ensembles. Even in electronic or hybrid music, those sediments are still common for what music means to the public. While creating music in an electronic sound environment, continuous sound relations should more and more evolve into new basic patterns of musical communication. The challenge for the development of a Cybermusic style is to discover common denominators that fit the new musical paradigm of electronic media while overcoming endless recycled periodic pattern as well as pattern that are too specific for an organic synthesis of the "Come together" of sounds (see next section). More information: |
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The "Come together" of sounds originating from distinct sources Concept of unifying and summarizing aesthetical positions, trying to work against today’s typical centrifugal power of adding further conceptual and musical niches Basic types of interrelations are valid even for very different musical objects. On an abstract level of a musical counterpoint organizing degrees of similarity, possibilities of succession, transitions of certain material presence through length modulation, etc., models of inner-musical interactions can be developed that allow to organically combine distinct musical cells in high density. In order to realize this potential of musical synthesis while retaining a level of common understanding, the creation of musical cells need to follow a discipline of "limited oscillation" and musical substitution, allowing them to serve as a kind of musical "placeholders". Practically, various families of dynamic cybernetic sound models and their output, called "Cybertracks", can provide an individual musical pool, from which musical cells are derived in different degrees of similarity and contrast. More information:
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Open concept of musical mentalities Various common types of musical behavior as basis for developing different musical forms and structures The complete arrangement of "clip talks" throughout a whole piece of music, i.e. the overall behavior of sounds and sound levels in a composition, is reflecting a kind of musical mentality that must be well recognized in order to understand its impact on the adequate musical form. Musical forms can be basically considered as an outcome of stable sound and structure level relations (song type), their continuous development (fractal type), structural transformations (serial type), or dialectic material confrontations story type). These musical macros are related to corresponding human expression types, such as introversion, extroversion, the spirit of continuous exploration, or masquerade. Obviously, the potential of global differences in form and spirit of musical pieces are an indicator for the power of a musical style. Reflecting them helps to avoid systematic redundancy and narrowing the scope of possible expressions of any musical conception. More information: |
| Cybermusic Communication |
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Device independent guidelines of musical generation Importance of musical phenotypes for perception and creation of a "musical meaning" Especially in electronic media, the complexity of today's musical structures does not allow the listener to re-construct the generic way of their creation. Therefore, musical phenotypes should always be considered as the main subject of communication rather than their corresponding musical genotypes, such as the method, the algorithm, or the device that has been used to create and/or to communicate the musical event. This does not mean that there is no impact from any genotype to its corresponding phenotype. In the opposite, this impact is very strong. However, a discussion of the relation between the genotype and the corresponding phenotype of any musical event should be treated as methodical discussion how best to achieve the intended musical vision rather than to ignore this discussion and to fall into the trap of a genotype oriented methodological fetishism. More information: |
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Adequate perception of Cybermusic Listening spaces and musical projection The readiness of a listener for receiving musical information, to understand and learn musical phenotypes and their interrelations, depends naturally on his/her musical listener biography. This receptive potential cannot be understood without what a listener expects from music and how he/her utilizes music according to his/her experiences and musical socialization (see "listening spaces" below). Electronic listening spaces are characterized by their independency from the generation sphere. This has a strong impact on how electronic music can be listened to, and therefore, how this kind of music is used and being communicated (see "musical projection" below). As a result, treating Cybermusic as a medium of its own, not depending on other media and demanding for full acousmatic attention remains one of its biggest challenges. More information: |
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Communication network Interaction of authors, distributors and recipients through personalized nodes The independency of location and time for cybermusic presentation and perception must not necessarily lead to a completely isolation of lonely headphone equipped recipients. Beside common possibilities of public real-time presentations such as concerts with special audio equipment or sound installations, the Internet cyberspace provides today a broad range of possibilities of simultaneously meetings for musical presentation and education. Multimedia enabled web meetings can be scheduled to bring musical authors, distributors and interested listeners together and to allow an individual and direct communication between them (simultaneous listening of music while applying real-time comments, online training groups, etc.). Those assemblies can grow into a network of worldwide communities, sharing interactively their interest for sound trips as musical adventures rather than remaining in a kind of self-confirming loop of ever growing web charts powered by the spirit of industrial ready-mades. Cybermusic presentation and workshop examples: |
| 2. Musical examples |
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The musical demonstration of the Cybermusic concept is split into two sections:
The "Cybermusic Patchwork" section is a condensed musical demonstration of about 3 minutes.
It is extracted from various pieces taken from the author's Cybermusic Gallery,
Room 4, "Electric Symphonies".
The second section presents one musical project as a whole one with a complete duration of about 18 and a half minutes, split into 4 movements of middle duration. The "Clung Symphony" is part of the same Gallery section as mentioned above and was written in 2003. |
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Cybermusic Patchwork The four musical projects of the "Electric Symphonies" are focusing each on a different soundscape (noise, electronic, instrumental, etc.) while exploring various scenarios of musical object interactions. The "Cybermusic Patchwork" demonstration tries to give an impression of the various musical facets that can be developed toward the vision of a cybermusic style presented by "The Cybermusic Project". Audio link (mp3, 128 kps): |
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Clung Symphony The composition combines sounds taken from instrumental pop environments with advanced methods of their elaboration in order to create a kind of "sound communication pyramid", spanning from known to completely new created and unique sounds and sound combinations. The sounds are communicating in a kind of "clip talk", the musical basis of the Cybermusic concept. The "clip talk" principle is open to be used and developed in any kind of electronic environment (live or by editing) and therefore device independent. The musical forms of the CLUNG SYMPHONY movements are developed on the background of different basic musical mentalities (form or process oriented, stable or dynamic interaction of musical levels). Audio links (mp3, 128 kps): |
| 3. Environmental presentation material |
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The Cybermusic website is split into two main sections, the
gallery
and the
workshop, thus covering both the generic and the communication aspect of the musical
activities.
The site is presented as a comprehensive reference for the Cybermusic Project and includes musical examples, theoretical and practical guidelines and suggestions, as well as personal information about the author. Topic oriented site access:
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Musical Presentation Musical Online Exhibitions of the current website are:
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Musical Communication Musical communication presented by this site includes: |
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Practical Workshops A basic composition course introduces into:
A public workshop is intended to introduce into the generic world of electronic music production: |
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Theoretical Workshops A kind of "Cybermusic Theory" focuses on basic principles and communication conditions of Cybermusic: Public workshops introduce into specific characteristics of Cybermusic in the light of general musical aspects: |
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Musical Offers Ready made musical material and projects are presented through: Cybermusic created on demand include: |
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Personal Pages Background information of the site and its author include: |
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