[b]to get started...[/b]
This post is to share some of my thoughts regarding works for Theremin and pre-recorded tracks. At first I was going to post under the "Arranging for Theremin" thread however the topic concerns original electronic compositions in which the Theremin plays a role.
For starters, here is a quote from the "Gordon's Progress" thread wherein Gordon speaks highly of a Dorit Chrysler performance that Gordon witnessed:
[i]"Dorit has a powerful stage presence - no doubt helped by her looks, she's a statuesque lady (so no Dickens jokes!) with a bright red dress and an ePro, so even before she started she had the audience out of their seats and on the floor. And she held their attention - she spoke to them, told them the names of her pieces (and dedicated the first one to the thereminists in the audience :-) and the pure tones of the theremin (and her voice) cut through all that horrid muddiness and gave the audience something worth listening to. The music was intelligent, accessible and varied. Excellent. Backing was supplied by an iBook."[/i]
[b]Backing was supplied by an iBook[/b]
There are many reasons one would choose to work with pre-recorded accompianment. The point is that Dorit is, by any measure, a professional and her choice to use (what I presume to be) her own arrangements that she recorded in advance apparently didn't detract from her performance.
The reason that I use my own tracks is that the tracks are integral parts of my compositions -- that is, I write specifically for pre-recorded electronics and live Theremin. There are a number of reasons for this:
1) I love electronic music and I like the interplay between the Theremin and electronic tracks.
2) I love orchestral music and electronics allows me to use orchestral samples, too.
3) I like merging it all... electronic sounds, samples, and the Theremin.
I do not regard my pre-recorded tracks as mere "backing" -- they are as integral to the result as is the Theremin part.
Another reason for designing my compositions around the pre-recorded tracks plus Theremin is to address the possibility of others playing my work. If others wish to play my compositions they would be able to do so with the electronic tracks, the notated Theremin part, and their Theremin.
Much synthesized music is designed to be heard in recorded form. Morton Subotnik mentions (in the liner notes for "Silver Apples of the Moon") that the work is specifically intended to be heard through playback equipment.
My work is is similar -- I wish to exploit the electronic medium and produce sounds and textures that would be well-nigh impossible in real time.
[b]Professionalism[/b]
Over the last 1 1/2 years I have encountered the occasional "dig" at pre-recorded tracks. Words such as "Theremin Karaoke" or "Thereoke" or "canned" come to mind.
However, I think professionalism has more to do with ones attitude and preparation rather than the choice of medium.
Like any artform, the quality of the result is often related to the work that goes into the product. Hard work doesn't guarantee that any particular work will be well-received, of course -- however with enough consistant effort one will likely experience some measure of satisfaction, success, or whatever.
To integrate one's performance with pre-recorded tracks can be very demanding and the medium can be pushed as far as one cares to push it.
[b]Karaoke?[/b]
Personally, I distinguish between "Karaoke" and compositions that include pre-recorded tracks. "Karaoke" tracks are often used to accompany amateurs while flashing the words on a screen. The focus is on "the performer" and NOT on "the sound" or even "the listeners".
As a result, I blanche at the notion of "Theremin Karaoke". To my way of thinking, "Karaoke" is to music-making as "Charades" is to acting. There is nothing wrong with i
This post is to share some of my thoughts regarding works for Theremin and pre-recorded tracks. At first I was going to post under the "Arranging for Theremin" thread however the topic concerns original electronic compositions in which the Theremin plays a role.
For starters, here is a quote from the "Gordon's Progress" thread wherein Gordon speaks highly of a Dorit Chrysler performance that Gordon witnessed:
[i]"Dorit has a powerful stage presence - no doubt helped by her looks, she's a statuesque lady (so no Dickens jokes!) with a bright red dress and an ePro, so even before she started she had the audience out of their seats and on the floor. And she held their attention - she spoke to them, told them the names of her pieces (and dedicated the first one to the thereminists in the audience :-) and the pure tones of the theremin (and her voice) cut through all that horrid muddiness and gave the audience something worth listening to. The music was intelligent, accessible and varied. Excellent. Backing was supplied by an iBook."[/i]
[b]Backing was supplied by an iBook[/b]
There are many reasons one would choose to work with pre-recorded accompianment. The point is that Dorit is, by any measure, a professional and her choice to use (what I presume to be) her own arrangements that she recorded in advance apparently didn't detract from her performance.
The reason that I use my own tracks is that the tracks are integral parts of my compositions -- that is, I write specifically for pre-recorded electronics and live Theremin. There are a number of reasons for this:
1) I love electronic music and I like the interplay between the Theremin and electronic tracks.
2) I love orchestral music and electronics allows me to use orchestral samples, too.
3) I like merging it all... electronic sounds, samples, and the Theremin.
I do not regard my pre-recorded tracks as mere "backing" -- they are as integral to the result as is the Theremin part.
Another reason for designing my compositions around the pre-recorded tracks plus Theremin is to address the possibility of others playing my work. If others wish to play my compositions they would be able to do so with the electronic tracks, the notated Theremin part, and their Theremin.
Much synthesized music is designed to be heard in recorded form. Morton Subotnik mentions (in the liner notes for "Silver Apples of the Moon") that the work is specifically intended to be heard through playback equipment.
My work is is similar -- I wish to exploit the electronic medium and produce sounds and textures that would be well-nigh impossible in real time.
[b]Professionalism[/b]
Over the last 1 1/2 years I have encountered the occasional "dig" at pre-recorded tracks. Words such as "Theremin Karaoke" or "Thereoke" or "canned" come to mind.
However, I think professionalism has more to do with ones attitude and preparation rather than the choice of medium.
Like any artform, the quality of the result is often related to the work that goes into the product. Hard work doesn't guarantee that any particular work will be well-received, of course -- however with enough consistant effort one will likely experience some measure of satisfaction, success, or whatever.
To integrate one's performance with pre-recorded tracks can be very demanding and the medium can be pushed as far as one cares to push it.
[b]Karaoke?[/b]
Personally, I distinguish between "Karaoke" and compositions that include pre-recorded tracks. "Karaoke" tracks are often used to accompany amateurs while flashing the words on a screen. The focus is on "the performer" and NOT on "the sound" or even "the listeners".
As a result, I blanche at the notion of "Theremin Karaoke". To my way of thinking, "Karaoke" is to music-making as "Charades" is to acting. There is nothing wrong with i
