Introduction

Electronic music started out as a studio practice, with early synthesizers and computers expanding

the sonic palette available to composers. But with every new way of making music, there has always
been the urge to perform live, to share the immediacy of the experience with an audience. Historically,
live electronic performance has been a messy affair, often requiring simplified arrangements with
musicians playing along with pre-produced studio tracks, first with tape, then as computers became
portable, with digital recordings.

With the arrival of powerful laptops, computers came into their own as performance devices. And
although it might be strange to consider a general use appliance such as the computer as a musical
instrument, when combined with flexible software and expressive real-time controllers, musicians

can truly perform with this system as the electronic digital instrument (EDI) that we now embrace in
allforms of live music. It is hard to overstate the role of Ableton Live software in the development of
the EDI. While most popular music software focuses on music production, this application provides a
flexible platform for both production and performance. Concurrently, a growing ecosystem of hardware
developers are expanding the creative potential of EDI players through a range of new controllers that
facilitate novel expressive performance techniques.

In this new territory with no roadmap, the performers in tonight's concert have all made significant
advancements in the use of technology in musical performance. Drawing on her background as a
classical violinist, Laura Escudé embraced early controllers and Ableton Live to develop her own
hybrid performance practice; she has worked with artists from Herbie Hancock to Kanye West, helping
them use this technology in their own live performances. Berklee alumnus Matthew Moldover
realized while playing parties in Brooklyn that audiences didn't respond to musicians huddled over
computers, and so became the "Godfather of Controllerism,” developing a unique performance
controller, the Mojo, that enabled him to perform completely independent of a computer screen and
keyboard. Multi-instrumentalist, producer, emcee, and educator Thavius Beck has combined hip-hop
and electronic music production with influences from rock, soul, experimental, and industrial music
in his performances. As a highly respected jazz musician, Rachel Z brings an improvisor's sensibility
to all forms of music, and her work with Brooklyn producer Dan Freeman showcases the best of jazz
and groove music, with adventurous uses of technology in performance. Finally, Electronic Production
and Design alumna Claire Lim, performing as Dolltr!ck, has established her voice as a wired pop
producer/performer who shows us that an artist with deep technology chops can also be a thoroughly
engaging performer.

For tonight's performance, we have asked each of these guest artists to curate one part of the show.
Each will perform one piece that shows their vision for what an EDI ensemble can do in a supporting
role, as well as an example of their own performance practice. We hope to showcase the EDI as an
instrument of the future, fluid in its application to any number of styles, and compelling in its ability to
empower artists to tell their stories.

Michael Bierylo, Chair, Electronic Production and Design