Hostname: page-component-cd9895bd7-fscjk Total loading time: 0 Render date: 2024-12-22T11:38:12.624Z Has data issue: false hasContentIssue false

More Than an Instrument: Improvising with failing playback media

Published online by Cambridge University Press:  20 August 2021

Jonathan Higgins*
Affiliation:
City, University of London, UK

Abstract

The adoption of playback media – such as vinyl and the compact disc – by performers as a means of sound creation and manipulation sees our perception of these media ‘elevated’ to the status of an instrument. As this practice develops, improvisers push these devices further in pursuit of new sounds, including actively exploring the sonic potential of failure and destruction. This article argues that when pushed to the point of failure, playback media begin to function as an improviser, exhibiting musical agency over the performance that mirrors that of human improvisers. This article will identify how failing playback functions within a performance, and explore the ways in which it can be understood to improvise, discussing how failing playback media can engage in a dialogical back and forth with human improvisers as well as the ways it can directly influence and determine the structure and musical content of a performance.

Type
Article
Copyright
© The Author(s), 2021. Published by Cambridge University Press

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

REFERENCES

Ashley, R. 2008. Musical Improvisation. In Hallam, S., Cross, I. and Thaut, M. (eds.) The Oxford Handbook of Music Psychology. New York: Oxford University Press, 413–20.Google Scholar
Cascone, K. 2000. The Aesthetics of Failure: ‘Post-Digital’ Tendencies in Contemporary Computer Music. Computer Music Journal 24(4): 1218.CrossRefGoogle Scholar
Chavez, M. 2012. Of Technique: Chance Procedures on Turntable. Brooklyn, NY: Self-published.Google Scholar
Cobussen, M. 2017. The Field of Musical Improvisation. Leiden: Leiden University Press.CrossRefGoogle Scholar
Collins, N. 2009. Hacking the CD Player. www.nicolascollins.com/texts/cdhacking.pdf (accessed 11 April 2021).Google Scholar
Doran, J. 2012. Time Becomes a Loop: William Basinski Interviewed. The Quietus, 15 November. https://thequietus.com/articles/10680-william-basinski-disintegration-loops-interview (accessed 11 April 2021).Google Scholar
Dunning, G. 2015a. Graham Dunning. eContact! 16(4). https://econtact.ca/16_4/dunning_gallery.html (accessed 14 September 2020).Google Scholar
Dunning, G. 2015b. Reactor Halls E16: Ghost in the Machine Music. https://grahamdunning.com/2015/05/22/reactor-halls-e16-ghost-in-the-machine-music-nottingham/ (accessed 11 April 2021).Google Scholar
Dunning, G. 2019. Strategies for Creative Error in Improvised, Semi-automated Music. Proceedings of the 2019 Technology in Musical Performance Symposium. Birmingham: TiMP.Google Scholar
Frisk, H. 2020. Aesthetics, Interaction and Machine Improvisation. Organised Sound 25(1): 3340.CrossRefGoogle Scholar
Gross, J. 1998. Christian Marclay. Perfect Sound Forever, March. www.furious.com/perfect/christianmarclay.html (accessed 11 April 2021).Google Scholar
Hansen, K. F. 2015. DJs and Turntablism. In Williams, J. (ed.) The Cambridge Companion to Hip-Hop. Cambridge: Cambridge University Press, 4255.CrossRefGoogle Scholar
Herremans, D., Chuan, C. and Chew, E. 2017. A Functional Taxonomy of Music Generation Systems. ACM Computing Surveys (CSUR) 50(5): 130.CrossRefGoogle Scholar
Katz, M. 2001. Hindemith, Toch, and Grammophonmusik. Journal of Musicological Research 20(2): 161–80.CrossRefGoogle Scholar
Kelly, C. 2009. Cracked Media: The Sound of Malfunction. Cambridge, MA: MIT Press.Google Scholar
Lewis, G. 2017. From Network Bands to Ubiquitous Computing: Rich Gold and the Social Aesthetics of Interactivity. In Born, G., Lewis, E. and Straw, W. (eds.) Improvisation and Social Aesthetics. Durham, NC: Duke University Press, 91110.CrossRefGoogle Scholar
Lewis, G. 2018. Why Do We Want Our Computers to Improvise? In Dean, R. T. and McLean, A. (eds.) The Oxford Handbook of Algorithmic Music. New York: Oxford University Press, 123–30.Google Scholar
MacDonald, R. and Wilson, G. 2020. The Art of Becoming: How Group Improvisation Works. New York: Oxford University Press.CrossRefGoogle Scholar
Magnusson, T. 2019. Sonic Writing: Technologies of Material, Symbolic and Signal Inscriptions. New York: Bloomsbury Academic.CrossRefGoogle Scholar
Mattin. 2005. Going Fragile. www.mattin.org/essays/Going_Fragile_english_FINAL.html (accessed 11 April 2021).Google Scholar
McLeod, K. 2014. An Oral History of Sampling: From Turntables to Mashups. In Navas, E., Gallagher, O. and Burrough, X. (eds.) The Routledge Companion to Remix Studies. London: Routledge, 8395.Google Scholar
Metzger, G. 2017. Manifestos of Auto-Destructive Art. In Spieker, S. (ed.) Destruction: Documents of Contemporary Art. Cambridge, MA: MIT Press, 87–8.Google Scholar
Neumann, D. 2013 . The Turntable Just Happened to be There – Chance and Turntablism(s): Interview with Maria Chavez. eContact! 14(3). https://econtact.ca/14_3/neumann_chavez.html (accessed 20 April 2020).Google Scholar
Ortiz, R. M. 2017. Destructivism: A Manifesto. In Spieker, S. (ed.) Destruction: Documents of Contemporary Art. Cambridge, MA: MIT Press, 75.Google Scholar
Schaeffer, P. 2012. In Search of a Concrète Music, trans. North, Christine and Dack, John. Berkeley: University of California Press.Google Scholar
Seddon, F. A. 2005. Modes of Communication during Jazz Improvisation. British Journal of Music Education 22(1): 4761.CrossRefGoogle Scholar
Smith, S. 2007. The Process of ‘Collective Creation’ in the Composition of UK Hip-hop Turntable Team Routines. Organised Sound 12(1): 7987.CrossRefGoogle Scholar
Stuart, C. 2003. Damaged Sound: Glitching and Skipping Compact Discs in the Audio of Yasunao Tone, Nicolas Collins and Oval. Leonardo Music Journal 13: 4752.CrossRefGoogle Scholar
Uszerowicz, M. 2017. Cultivating Patience: In Conversation With Sound Artist + Turntablist Maria Chavez. www.ravelinmagazine.com/posts/cultivating-patience-in-conversation-with-sound-artist-turntablist-maria-chavez/ (accessed 11 April 2021).Google Scholar
Weissenbrunner, K. 2013. Experimental Turntablism: Historical Overview of Experiments with Record Players/Records – or Scratches from Second-Hand Technology. eContact! 14(3). https://econtact.ca/14_3/weissenbrunner_history.html (accessed 1 May 2020).Google Scholar
Young, M. and Blackwell, T. 2016. Live Algorithms for Music: Can Computers Be Improvisers? In Piekut, B. and Lewis, G. (eds.) The Oxford Handbook of Critical Improvisation Studies, Volume 2. New York: Oxford University Press, 507–28.Google Scholar

VIDEOGRAPHY

Grandmaster, Flash. 1983. How to Do a Break Mix. YouTube. https://youtu.be/Kk99DmV5uLk (accessed 2 February 2021).Google Scholar