Name:

Joel Chadabe

Bio:

Joel Chadabe, composer, author, is an internationally recognized

pioneer in the development of interactive music systems. His music
has been performed at Ear to the Earth (New York City), New Mix
(Palais de Tokyo, Paris), Expanded Instruments Festival (Engine 27,
New York City), Centro Cultural Recoleta (Buenos Aires), Venice
Biennale, Wellington Festival (New Zealand), De Isbreker (Amsterdam),
New Music America, Inventionen (Berlin), IRCAM (Paris), Ars
Electronica (Linz, Austria), Electronic Music Festival (Stockholm),
New Music New York, and other venues worldwide; and recorded on EMF
Media, Deep Listening, and other labels. He is the author of
'Electric Sound', a history of electronic music. His articles have
been published in leading journals. As president of Intelligent
Music, he was responsible for the first publications of interactive
music software. He has received fellowships and grants from NEA, New
York State Council on the Arts, Ford Foundation, Rockefeller
Foundation, Fulbright Commission, and other organizations, and he is
the recipient of the SEAMUS 2007 Lifetime Achievement Award. Mr.
Chadabe is currently Professor Emeritus at State University of New
York; Director of the Computer Music Studio at Manhattan School of
Music; Visiting Faculty at New York University; and founder and
president of Electronic Music Foundation.

Title:

Many Times Katerina

Instrument:

Flute and electronics

Tech needs:

Only a Kyma System. I'll borrow it from Marinos Giannoukakis, who

will have his at the conference. the setup is: One mic from the
flute, through a mixer, with 2 outputs into Kyma (xlr connections).
The out from Kyma is 2 xlr cables that go into the playback system.
There is no particular spatialization. I'll need a laptop which I'll
bring.

Demonstration:

The flute sound is processing by Kyma. It is interactive. No score.

Here is the url to a demonstration:

http://www.chadabe.com/mp3s/MTDemoFlute.mp3

Program notes:

Joel Chadabe
Many Times Katerina
Many Times ... (the ellipsis is the name of the performer) is for a
solo performer playing an acoustic instrument, recitating a text, or
singing, and electronics.

The performer's sounds are transformed into multiple images that, as

layers of timbral transformations or echoes distributed to
loudspeakers, extend the performer. The core idea of this composition
is that electronic technology extends us beyond what we can otherwise
do and what we otherwise are.

More, the performers of these compositions are, in effect, playing

the electronic system as an instrument; and they are playing it, not
by means of a performance device of any kind, but by the
characteristics of the sounds they play, such as pitches, successions
of pitches, the speed with which pitches change, loudness, varieties
of timbre.

Yet more, the electronic instrument is an interactive instrument. By

'interactive', in this context, I mean 'mutually influential'. An
interactive instrument, defined by software, can seem to think for
itself, make its own decisions, and translate its input into an
unpredictable output. The performer 'influences' the instrument, as
always, but in this case the instrument also influences the
performer, providing the performer with something to react to as a
cue for what to play next.

Many Times ... was first performed at Engine 27, New York City, on
March 21, 2001, as part of EMF's Expanded Instruments Festival.