About the piece #1
"Silhouette of words, or Alleluia-based on"A's"text" was composed for four female keyboardists. Everykeyboardist plays the melody, which is designated by the computer inreal time. The scores of these melodies are projected by four smallprojectors on each side of a cube, which is placed in the center ofthe four players. While the first woman plays the basic melody with asaw wave, or noise, the notes played by the other three woman stay inthe form of sine waves. Simultaneously, the keyboard controls thecentral frequency of the band-pass filter and the frequency of thesine wave generator. This transforms the sound of the basic melody.As a whole it forms a construction similar to a analog-synthesizer,which transforms the tones or sounds. This composition is the musicof changing of the sound's color.
About the piece #2
"This is my name.
From the moment I was born,
I had already been given thisname,
and it was already decided what Imust do.
But I have no nationality."
This composition was based on the writingsof Boy"A", who believed strongly that his ideas, quoted above, werethe truth. The reflection of the notes of the score will be projectedby a small projector. They will be read by four female keyboardists,who will play so quietly that the volume will barely be audible. Thefour sine waves from four small projectors twist and overlap, andwhen they combine, actually produce one voice. But the "voice" cannever call a name or become a word. It just wanders intime$@!&!&!&(J
About the piece #3
This piece is the experimental resolution toquestions I have had about sounds, performance, scores, expression,notes and experience. In creating it, I have utilized the newesttechnologies available today. However, this technology is being usedsolely as a means to resolve my questions. While the computer isprocessing audio data of extremly high quality in real time, it isproducing insensitive, loud noises. I tried to make thiscontradictory characteristic of the computer the object of my workand made* it as an important part of the piece. This is a resistanceto this world, where every human act is regarded as information or asa symbol in this huge process of symbolization.
About the piece #4
Everyone has imagined a monster, but no-onehas imagined it could
be a tiny boy. Although everyone was shocked bythis fact, strangely,
we could relate to his motivation, and itreminded us of "something".
The boy protested against being called byhis name, which was incorrectly
interpreted and broadcasted by themass media. The boy insisted
that he had never been called by his ownname and that he had no
nationality. Even though sociologists orpsychologists analyze
this murder case, it makes no difference to mehere. I just had
an idea to make music through contemplating that"something" which
reminded me too. I wanted to make a piece bygathering something
solely transparent, such as a silhouette, whichhas no substance.
Therefore, everything one can see and hear in thispiece has symbolic
meaning. Ofcourse it's impossible to completelysimulate the boy's
thoughts and ideas. My interpretation orunderstanding must be
mixed with his idea. I thought, this kind ofapproach, i.e., being
a "nonfiction composer" could exist as anonfiction writer exsists.
But this has nothing to do withjournalism.
About the case of "A" (and hisessay)...
Concept, composition, programming: Masahiro Miwa
Visual art: Hiromitsu Murakami
Sound technique: Takuji Tokiwa
Art work: Shiro Yamamoto
Supported by IAMAS
MasahiroMiwa lecture (Contemporary Musec Series 2)
on July 10th 1998 at Aichi Arts Center, Nagoya Japan
Performer (Keyboards): Fumiyo Shimizu, Kaori Higashida, ChisakoMurata, Monna Sakai
InternationalComputer Music Festival '98
on 18 September 1998 at XEBEC Hall, Kobe Japan
Performer (Keyboards): Kazue Nakamura, Tomoe Suzuki, Chisako Murata,Monna Sakai