1,723,398 research outputs found
Pixidust - Yati Durant (r) and Jules Rawlinson (l) 26.05.17 take 3
No full textThis is an audio recording of the final take of improvisations by Yati Durant and Jules Rawlinson on 26th May 2017 using two modular synthesizers and an Elektron Machinedrum mixed directly to the input of Pixivisor software. The audio output represents the input that creates visuals, and provided a visual feedback that contributed to the communicational development of the improvisation. The patch settings used by both improvisors were refined from the previous take (Pixidust_ Yati Durant (r) and Jules Rawlinson (l) 26.05.17 take 2(repatch)) and modified for this take very little
Saundaryalaharī Ph.D. portfolio audio and video material
No full textThis dataset is comprised of the audio and video material that contributes to the Ph.D. Composition portfolio Saundaryalaharī by Yati Durant (2022). List of contents: Reflections: Duo Canon (audio), 19’30”, Two pianos/four hands, Festival Nuovo Consonanza, Rome 26.11.2016. Saundaryalaharī 1 (video), 21’, Two pianos/four hands, modular synthesizers and Pixivisor audiovisual software audiovisual software, Reid Concert Hall 07.06.2017. Saundaryalaharī 2 (audio),11’, Two cellos and modular synthesizers, Festival Forfest International Festival of Contemporary Art with Spiritual Orientation, Kroměříž, Czech 23.06.2018. Pixidust 2 (video), 12’, Two modular synthesizers and Pixivisor audiovisual software, Seeing Sound, Bath-Spa University 24.03.2018. Saundaryalaharī 3 v.1 (video), 40’, Cello and audiovisual electronics, IMMSANE Zurich Congress 2020, Zurich University of the Arts (ZHdK) 02.10.2020. Saundaryalaharī 3 v.2 (video, jpeg slides), 6’ and 7’, Cello and audiovisual electronics, Online live interactive performance via Zoom between Italy and UK 12.03.2021. Saundaryalaharī Triangle (video), 9’50”, Modular synthesizers and audiovisual electronics, Published online 22.04.2021
Pixidust - Yati Durant (r) and Jules Rawlinson (l) 26.05.17 take 1
No full textThis is an audio recording of the first take of improvisations by Yati Durant and Jules Rawlinson on 26th May 2017 using two modular synthesizers and an Elektron Machinedrum mixed directly to the input of Pixivisor software. The audio output represents the input that creates visuals, and provided a visual feedback that contributed to the communicational development of the improvisation. In these initial takes, the aim was to establish a basis for the improvisations and gain a feeling for the audio/visual hierarchy they endorse. This recording marked the first session on the second day of experimentation
Yati Durant and Christian Svalesen w/Häxan 04.05.2015 mix 1
No full textThird attempt at spontaneous composition for screen with Häxan (up to Part 2, 1922, Benjamin Christensen), both are facing the screen (and sound source), attempt to improve reactivity through development of a graphic score/visual cue sheet (not musical material), discuss reactivity beforehand including “points” of reactivity, some points of setup were changed including utilization of new sample sets (Samplr, etc.). The improvisation process followed Method 2: “Look first at the film in its entirety, with or without sound, create and study preparatory material together, such as a cue sheet. Then talk about how it will be played and establish limitations ahead of the first try. Then play and talk about the outcome.” (Durant, Yati. 2015. Dramatic Comprehensibility in Improvised Music to Film. [Paper]. IMHSD Conference, Herstmonceux Castle, East Sussex) Setup included Laptop running Ableton Live, Korg Kaoss pad and Kaosillator through ZVex, Korg MS-20 and SQ1, Apple iPad running Samplr, Elektron Machinedrum and two trumpets (through effects)
Yati Durant and Christian Svalesen w/Häxan 13.04.2015 mix 1
No full textFirst attempt at spontaneous composition for screen with Häxan (up to Part 2, 1922, Benjamin Christensen), attempt to experiment with “letting the film do the hard work” utilizing simple and direct processes. The improvisation process followed between Method 4: “don’t rehearse at all and play at first sight at the performance” and Method 5: “don’t look at the film at all before, during or after the performance and simply improvise.” (Durant, Yati. 2015. Dramatic Comprehensibility in Improvised Music to Film. [Paper]. IMHSD Conference, Herstmonceux Castle, East Sussex) Film not previously watched, no discussion or rules established beforehand, no specific intention to follow the film. Setup included Laptop running Ableton Live, Korg Kaoss pad and Kaosillator through ZVex, Korg MS-20 and SQ1, Apple iPad running Samplr, Elektron Machinedrum and two trumpets (through effects)
Pixidust - Yati Durant (r) and Jules Rawlinson (l) 25.05.17 take 2
No full textThis is an audio recording of the second take of improvisations by Yati Durant and Jules Rawlinson on 25th May 2017 using two modular synthesizers and an Elektron Machinedrum mixed directly to the input of Pixivisor software. The audio output represents the input that creates visuals, and provided a visual feedback that contributed to the communicational development of the improvisation. In these initial takes, the aim was to establish a basis for the improvisations and gain a feeling for the audio/visual hierarchy they endorse
Yati Durant and Christian Svalesen w/Häxan 27.04.2015 2 mix 2
No full textSecond attempt at spontaneous composition for screen with Häxen (up to Part 2, 1922, Benjamin Christensen), attempt to simplify “flow”, improve reactivity, balance and tempo, search for expression. The improvisation process followed approximately Method 1: “look first at the film in its entirety first, with or without sound (preferable, as it doesn’t then imply simple musical mimicking) then improvise and talk about the outcome.” (Durant, Yati. 2015. Dramatic Comprehensibility in Improvised Music to Film. [Paper]. IMHSD Conference, Herstmonceux Castle, East Sussex) Setup included Laptop running Ableton Live, Korg Kaoss pad and Kaosillator through ZVex, Korg MS-20 and SQ1, Apple iPad running Samplr, Elektron Machinedrum and two trumpets (through effects)
Pixidust - Yati Durant (r) and Jules Rawlinson (l) 25.05.17 take 3
No full textThis is an audio recording of the third take of improvisations by Yati Durant and Jules Rawlinson on 25th May 2017 using two modular synthesizers and an Elektron Machinedrum mixed directly to the input of Pixivisor software. The audio output represents the input that creates visuals, and provided a visual feedback that contributed to the communicational development of the improvisation. In these initial takes, the aim was to establish a basis for the improvisations and gain a feeling for the audio/visual hierarchy they endorse. This recording represents the final take of the session on 25th May 2017
Pixidust - Yati Durant (r) and Jules Rawlinson (l) 26.05.17 take 2 (repatch)
No full textThis is an audio recording of the second take of improvisations by Yati Durant and Jules Rawlinson on 26th May 2017 using two modular synthesizers and an Elektron Machinedrum mixed directly to the input of Pixivisor software. The audio output represents the input that creates visuals, and provided a visual feedback that contributed to the communicational development of the improvisation. In this recording, the two improvisors began with unmatched synthesisers and built the sound palette without resorting to previous settings. Overall, the improvisational complexity was felt by both improvisors to be more refined and the techniques richer
Pixidust - Yati Durant (r) and Jules Rawlinson (l) 25.05.17 take 1
No full textThis is an audio recording of the first take of improvisations by Yati Durant and Jules Rawlinson on 25th May 2017 using two modular synthesizers and an Elektron Machinedrum mixed directly to the input of Pixivisor software. The audio output represents the input that creates visuals, and provided a visual feedback that contributed to the communicational development of the improvisation. In these initial takes, the aim was to establish a basis for the improvisations and gain a feeling for the audio/visual hierarchy they endorse
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