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Berklee College of Music
EMERGING
Discovering My Style as a Multimedia Artist and Collaborator
“Submitted in Partial Fulfillment of the Degree of Master of Music in Music Production,
Technology and Innovation”
Advisor: Benjamin Cantil
By Joyce Lindsey
Valencia Campus, Spain
July 2019
Table of Contents
ACKNOWLEDGEMENTS________________________________________________________III
ABSTRACT____________________________________________________________________IV
INTRODUCTION_______________________________________________________________ 2
REVIEW OF THE STATE OF THE ART____________________________________________ 4
INNOVATION ASPECTS________________________________________________________ 7
NEW SKILLS ACQUIRED_______________________________________________________ 9
CHALLENGES_________________________________________________________________9
FUTURE RAMIFICATIONS______________________________________________________11
CONCLUSION_________________________________________________________________13
BIBILIOGRAPHY______________________________________________________________15
ii
Acknowledgement
I would like to give my thanks to all the people that have contributed to helping me make my
piece Emerging come to life. First and foremost, I would like to thank Raquel Sanchez, and Rosa
Llobell for dedicating time and energy to determine the direction and vision of my final piece.
Raquel and Rosa, I appreciate the openness, the spontaneity, and the fluidity that you both
expressed in movement and in attitude. Second, I would like to thank Robby Glade for being my
videographer since beginning of my culminating experience. Robby always went above and
beyond by always agreeing to video my prototypes. He rented out nine cameras with lighting and
tripods, providing amazing shots and angles for my final performance in Centre del Carmen.
Third, I thank Brett Meyer, who was my sound engineer. He created the standard method of how
to mic my specific percussion set up. I am grateful for his expertise in creating a great sound out
of my djembe-doumbek technique with mic positioning and selection. Fourth, I want to give an
enormous thank you to my advisor Ben Cantil, for giving me encouragement and confident. Ben
also recommended the Softstep, which became the perfect piece of technology that I needed for
my multimedia performance. Fifth, I want to also thank my program director Pablo Munguia for
finding an opening at Sala Dormitorio to showcase my first official performance of Emerging.
Sixth, huge thanks to Pierce Warnecke for exposing me to programming and linking midi to
effects in VIZZIE and vsynth as well as various types of music technology. Lastly, I want to
thank the Centre del Carme Cultura Contemporània for taking interest in showcasing my piece
Emerging in their space as well as advertising my performance to the people of Valencia. I
dedicate my CE paper to all the American Dance Festival musicians who have inspired me and
influenced me to be a dance musician and multimedia artist.
iii
Abstract
Emerging is a multimedia performance that involves the improvisation and
communication between the movement of dancers and visual synthesis, ambient, electronic
West-African and Afro-Cuban music and live percussion triggered and manipulated by a live
musician. Emerging is the result of Joyce Lindsey’s exploration in finding her style as a
multimedia artist and collaborator. She aims to provide experiences where she can combine her
skills as a sound designer, composer, percussionist and visual artist, in service to collaborating
with choreographers and filmmakers to actualize the vision and/or theme they seek to express in
their work.
Keywords: West African, Afro Cuban, Mediterranean, Modern Dance, Max MSP,
Ableton live set, djembe, doumbek
iv
Introduction
After discovering and cultivating her versatile talents as a visual artist, composer, sound
designer, performer and percussionist, Joyce reached a significant realization when exploring
what to do for her culminating experience. She found that her culminating experience should be
an exploration of how to combine and integrate dance, visual art, music and live performance
into one multimedia experience. Her piece, Emerging, became the initial stepping stone to
discovering her own artistic identity, as well as, her own style of creating music and sound
designing for modern/post-modern dance.
After years of studying drawing and painting, composing electronic music and interning at
the American Dance Festival (2011 – 2014)1, Joyce had this lingering curiosity of how she could
find the connections between all her talents and execute them simultaneously in her career. Once
Joyce was exposed to how to utilize various pieces of music technology such as: creating
customized max patches with VIZZIE2 and vsynth3, live fusion sets with Ableton4, and how to
1
American Dance Festival, “Who We Are”, Last Modified 2019,
https://americandancefestival.org/about/who-we-are/.
“Heralded as ‘One of the nation’s most important institutions’ by the New York Times and as ‘The world’s greatest
dance festival’ by the New York Post, the American Dance Festival’s sustained record of creative achievement is
indivisible from the history of modern dance”.
2
Cycling 74’, “Introduction to VIZZIE”, Last Modified November 19, 2010,
https://cycling74.com/articles/introducing-vizzie.
3
Sharesynth, “Creating a Video Synthesizer with Vsynth and Max MSP”, Last Modified August 1, 2016,
http://www.sharesynth.com/create-a-video-synthesizer-with-vsynth-max-msp/.
VIZZIE and vsynth are sets of modules through Max MSP, which allow people to create their own visual content
and live video with various effects. VIZZIE allows you to drop in video content and manipulate the video with
effect boxes and automated generators connect them to midi information in Ableton. Vsynth is similar to VIZZIE
where both allow to create customized video content, however, vsynth is a module video synthesizer. With vsynth’s
combination of “video synthesis and image processing with the efficiency of hardware accelerated processes” visual
content can be more individualized.
1
send midi data from Ableton to correspond with specific effects in Max MSP5, she discovered
these were the types of technology she has been searching to achieve her vision for Emerging.
Emerging was an exploration of how visual synthesis, movement by dancers, live percussion
and electronic music can influence and communicate with each other simultaneously in
performance. The visual content was developed by a customized Max MSP patch combining the
generative effects and shapes of VIZZIE and vsynth. The visual patterns generated by the Max
patch move and correspond to the sound textures, melodic and harmonic synths, and West
African and Afro-Cuban rhythms composed in an Ableton Live Set. The SoftStep6, a midi foot
controller device, was programmed to trigger audio effects, as well as changes and transitions in
the music and visuals when certain buttons were stepped on the device during the performance.
As all these elements were happening, two female dancers, Raquel Sanchez and Rosa Llobell,
were contact-improvising7 to the visual patterns, electronic music and live playing of djembe8,
4
Subaqueous, “Creating You Live Performance Setup” Last Modified July 28, 2015,
https://www.subaqueousmusic.com/creating-your-live-performance-setup/.
According to the section, “Live Fusion for Flexibility”, a live fusion set is when Ableton’s session view is being
used to build a live set of prerecorded material while also performing live. Each scene in the live set in Ableton’s
session view can be triggered by a midi controller device while playing an instrument at the same time.
5
Cycling 74’, Home Page, https://cycling74.com/.
“Max MSP is a visual programming language for specialized needs of artists, educators, and researchers working
with audio, visual media, and physical computing”.
6
Keith McMillen Instruments, Softstep 2, https://www.keithmcmillen.com/products/softstep/.
“Softstep 2 is a generational leap beyond traditional pedalboards: an unbreakable connectivity to any and all of your
rigs. The ten gesture-sensitive pads register pressure and position, allowing you not just precision, but expression in
your foot controls”.
7
Contact Quarterly: Dance & Improvisation Journal, “About Contact Improvisation”, Last Modified 2014,
https://contactquarterly.com/contact-improvisation/about/.
“Contact Improvisation is an evolving system of movement initiated in 1972 by American choreographer Steve
Paxton. The improvised dance form is based on the communication between two moving bodies that are in physical
contact and their combined relationship to the physical laws that govern their motion—gravity, momentum,
inertia… Contact improvisations are spontaneous physical dialogues that range from stillness to highly energetic
exchanges”.
2
doumbek9 and ankle bells10, by Joyce Lindsey. The improvisation and communication between
the visuals, live musician and dancers synchronized to determine the end product of the
performance.
In order to document her performance at Centre del Carmen, Joyce had to record her live set
on Ableton on her computer. Joyce also needed a sound engineer, Brett Mayer, present to record
her live percussion on his computer, so Joyce’s computer did not malfunction or shut down
during the performance due to the use of Max MSP and Ableton being used at the same time to
provide both electronic music and visuals. Joyce found through her third prototype that she
needed five microphones to record her live percussion set. She found that two SM57s11, two
AKG P420 condensers12, and one SM5813 were the best microphones to use to capture the
colors, tones and timbre of Joyce’s djembe, doumbek, and ankle bells.
8
Drum Connection International, “History of the Djembe”, https://www.drumconnection.com/africaconnections/history-of-the-djembe/.
“The djembe is one of West Africa’s best known instruments. This goblet-shaped drum is traditionally carved from
a single piece of African hardwood and topped with animal skin as a drumhead…Some say the name of the djembe
came from the Bamana in Mail, who said, ‘Anke dje anke be’, to call their people together, as the saying translates
‘everyone gather together.’ ‘Dje’ means gather and ‘be’ mean everyone.”
9
Raquy Drum Store, “What’s a Doumbek”, http://www.raquydrumstore.com/whats-a-doumbek.
The Egyptian doumbek or table is [probably] the best known style of Arabic drum[ming]. Doumbek (aka darbuka,
darabukeh, dumbek, derbekeh, dumbelek, table, tarabuka); traditionally hail throughout the Middle East, and North
Africa, Turkey, Greece, and the Balkans and vary slightly in technique and manufacture according to region”.
10
Bellydance.com World’s Largest BellyDance Superstore, “Salangai Indian Dance Ankle Bells Padded
Angles”, https://www.bellydance.com/Salangai-Indian-Ankle-Bells-(PAIR)-BLACK.html. The Salangai Indian
Ankle Bells are what Joyce used to create a foot pattern during the performance of Emerging.
.
11
Shure, SM57, https://www.shure.com/en-US/products/microphones/sm57.
The Shure SM57 is a dynamic cardioid microphone “uniquely designed to deal with high pressure sound that
explodes from instruments to amplifiers”. Due to drums and percussion producing high pressure sounds, the SM57
is one type that is best to use when recording djembe and doumbek.
12
AKG Harman, P420, https://www.akg.com/Microphones/Condenser%20Microphones/P420.html.
”The P420 is multi-pattern large diaphragm true condenser microphone for demanding project studio recording
applications. Offering high sensitivity and 155dB maximum SPL, the P420 delivers a warm, transparent sound
quality perfectly suited for ensemble recording, grand piano, woodwind, and brass instruments, as well as drums and
percussion.” This microphone was used to capture the bass sound of the doumbek and/or the bell sounds from the
ankle bells.
3
Review of the State of the Art
In her discovery of finding inspiration and influences of what Joyce seeks to do through her
culminating experience, she found the works of John Cage, Thierry de Mey, Michael Wall, Yun
Ho Choi and the musical techniques of West African, Afro Cuban and Mediterranean styles of
percussion. John Cage had a very close artistic and professional collaboration with Merce
Cunningham. Both Cage and Cunningham came up with the “four key discoveries”14, which
were methods that they both used in their creative process and collaborations. The first “key
discovery” or method they used was “the separation of music and dance”15. Cage and
Cunningham wanted to develop the dance and the music separately so that the dance or music
were not supported or dependent on each other. They wanted to maintain the independence of
their own process of creating music and dance. On the day of the performance, Cage and
Cunningham would put both the dance and the music together to see how the pieces of art come
to life. “The non-subornation of [dance and music] would allow them to be developed
independently and largely in isolation, resulting in all the parts of the performance parts (dance,
music, lighting, costumes, and set) coming together at the last minute before the curtain rises”.16
Joyce can relate with this method of collaboration because she was intrigued by the
unpredictability of how the dance and the music will work together once both elements are
combined in a performance. Joyce adopted this method of collaboration but with a different
approach. Instead of developing music separately from dancers, she created sound textures,
13
Shure, SM58, https://www.shure.com/en-US/products/microphones/sm58.
The Shure SM58 is a dynamic cardioid microphone that produces a “warm, crisp sound”. This microphone was used
to record the sound of ankle bells as well.
14
Beth Weinstein, The Collaborative Legacy of Merce Cunningham (2011), 1
Ibid.
16
Ibid.
15
4
soundscapes, rhythms and harmonies based the communication and improvisation process Joyce,
Rosa and Raquel developed in many rehearsals between the music and the movement.
Like John and Merce, Thierry de Mey did many musical and cinematic collaborations with
dancer and choreographer Anne Teresa de Keersmaeker. Thierry’s electronic, experimental
music for dance inspired Joyce to dive more into the experimental, electronic-foley-rhythmic
world of producing music for dance by inventing new sounds and incorporating them into her
process of composing. In Rosas danst Rosas, de Keermaeker positioned three women sitting
diagonally from each other. As the three women were thrashing their heads up and down,
crossing and uncrossing their leg, standing and sitting, de Mey’s composition of rhythmic,
repetitive ticking, foot stomping, and crashing of metallic objects come together to compliment
the extensive and intriguing sequence of movement throughout the piece.17 Joyce was inspired to
design sounds that inspired her dancers to move internally and externally. She wanted to create
textures, synths, and combinations of rhythms as well as electronic sounds she has never heard
before or created for dancers.
Joyce studied West African djembe and duns-duns, Afro-Cuban congas and Mediterranean
doumbek for nine years. She learned all of these different percussion techniques in relation to
playing for contemporary West African, Afro-Cuban and modern/postmodern dance. Among the
rhythms Joyce frequently played for West African and/or modern/postmodern dance classes
were Sorsornet from the Baga people in West Guinea18, Soli from the Malinke people in
17
Anne Theresa de Keermaeker and Thierry de Mey, Rosas Danst Rosas (2008).
“126 West African Percussion Rhythms From Guinea and other countries”. September 2009. The reason
why there is no author, or specific musician to reference the origin of West African music or the notation is because
West African music belongs a collective ethnic group or multiple ethnic groups that play for different functions and
life events.
18
5
Northwest Guinea19, Bembe from Cuba20 21, and Ayoub from Egypt and Lebanon and Maqsoum
from Egypt22. Joyce fused and integrated these rhythms as part of her acoustic and electronic
performance with looping the live playing of djembe, doumbek, and electronic sounds. Joyce
specifically, fused multiple rhythmic parts of West African Sorsornet and Afro Cuban Bembe.
She noticed both rhythms fit perfectly together due to their complementary rhythmic patterns and
similar time signature of 6/8.
Joyce also developed a drumming style that combines the percussion techniques of djembe,
conga and doumbek while playing the djembe and the doumbek simultaneously23. During her
live performance, she integrated her technique by producing rhythms and sound textures in
reaction and communication with the movement of Rosa and Raquel. Michael Wall had been one
of Joyce’s mentors for a decade. Michael Wall is an innovator in many ways by incorporating
Ableton Live, playing live trumpet, piano and percussion in his musical set up to create music for
dance in modern dance classes and for live dance performances.24 Michael Wall also an
innovator because he created a website called SoundforMovement25,where dancers can go on the
website and pay a reasonable price for music composing by Michael Wall organized by meter,
tempo and description. Like Michael Wall, Joyce used Ableton Live, however in correspondence
19
“126 West African…”, Ibid.
Raices Africanas, Elegua (Bembe) (2005).
21
“6/8 Afro Cuban Rhythms (Bembe), Railroad Media, Inc. (2006 – 2012).
22
Maura Enright, Middle Eastern and Mediterranean Music Rhythms: Diagrams and Performance Ads,
(2012 – 2015).
23
Joyce Lindsey, “Emerging (2019)”, Posted May 9, 2019, YouTube Video, 8:16,
https://www.youtube.com/watch?v=e5MbSoAPaaI.
20
24
Michael Wall, “Michael Wall: Demo Using Ableton Live in Dance Class”, Filmed [May 17, 2012]
Posted May 17, 2012, YouTube video, 3:45, https://www.youtube.com/watch?v=yxu-y-XV-BM.
25
Michael Wall, “SoundFORmovement”, https://soundformovement.com/home.
6
with Max for Live as way to control her prerecorded midi composition and the generative visuals
she created through Max’s VIZZIE and vsynth.
Tacitrune26 was the closest performance example Joyce found that was the most similar to
what she achieved in her piece Emerging. Yun Ho Choi, a former graduate student at the NYU
Tisch School for the Arts in 2017, created and performed, Tacitrune. Tacitrune was an audiovisual performance which reflected on a personal journey through four different themes: chaos,
childhood, tenacity and tacitrune. Choi composed four prerecorded compositions and organized a
live set in Ableton to navigate through each musical theme. He also designed visuals and
animations through TouchDesigner27 to illustrate the journey between each theme and
movement. Finally, Choi used Max for Live to have the midi information to link with changes in
the story and visual effects. During the four musical movements of Tacitrune, Choi performed
live music with a midi controller keyboard and a dancer embodied the themes with prepared
choreography. Choi’s Tacitrune was one of the only audio-visual dance performances Joyce had
discovered, where one person was controlling both the visuals and music through their computer,
while also performing live music with a dancer.
26
Yun Ho Choi, “Tacitrune: audio-visual dance performance” Posted [May 26, 2017] YouTube video, 9:19.
https://www.youtube.com/watch?v=5IkgWBvUBzk&lc=z232j5wzdne5d5dwe04t1aokg22syjbkdiqq2gx2yzjork0h00
410&feature=em-comments.
27
Derivative, Home Page, https://www.derivative.ca/.
“TouchDesigner is a visual development platform that equips you with the tools you need to create stunning realtime
projects and rich user experiences. Whether you're creating interactive media systems, architectural projections, live
music visuals, or simply rapid-prototyping your latest creative impulse, TouchDesigner is the platform that can do it
all.”
7
Innovative Aspects
When Joyce did her research, she realized she was not the first to create an audio-visual
dance performance. However, Joyce found there are some innovative aspects that she
incorporated in her live multimedia performance Emerging. First example of innovation is
Joyce’s percussion technique, which is a combination of West African djembe, Afro Cuban
conga and Mediterranean doumbek world percussion techniques. Joyce discovered Tom Teasley
was a professional world percussionist, who taught and demonstrated his djembe- doumbek
technique through YouTube tutorials. If Teasley’s technique and Joyce’s technique were to be
compared, one would notice that there are significantly different. Tom’s technique combined
Turkish doumbek split-finger technique and American drumline rudiments when playing both
djembe, doumbek and a foot pattern with foot pedal cowbell.2829 When applying her unique
percussion technique, Joyce used the djembe bass hit, tone and slap, the conga slap, the
Mediterranean doumbek finger roll, and West African djembe six roll when playing her
doumbek, djembe and a South Indian ankle bells. In the video documentation of Emerging,
Joyce demonstrates her djembe-doumbek technique and all of the sounds and gestures
described.30
Second example of innovation is the fusion of West African Sorsornet and Afro Cuban
Bembe rhythms simultaneously playing together and integrated into an electronic music
28
Tom Teasley, “Tom Teasley-Doumbek and Djembe” Posted July 12, 2011, YouTube video, 2:57,
https://www.youtube.com/watch?v=dw2zRKTnWPI.
29
Tom Teasley, “World Percussionist Tom Teasley- L.P. DJEMBE, REMO DOUMBEK, SABIEN
CYMBALS with FOOT PATTERN SOLO” Posted December 9, 2012, YouTube Video, 3:22,
https://www.youtube.com/watch?v=liKKWEclsmo.
30
Joyce Lindsey, “Emerging 2019 MM Thesis”, Posted June 30, 2019, YouTube Video, 10:14,
https://www.youtube.com/watch?v=ls4WXGESpAQ.
8
composition. Joyce seen many examples and performances where both rhythms were played live
and in recordings but always separately and never together. Joyce wanted to incorporate both
rhythms in her electronic music composition to pay homage to how African rhythms have
influenced genres like house, EDM, disco, trance and techno31 and to experiment with merging
these rhythms with an ambient, electronic modern dance composition.
Third innovative aspect of Joyce’s project was the use of her background as professional
dance musician32 and integrating pieces of music technology such as: the Softstep, Ableton Live,
Max for Live, sound design, electronic music composition and live percussion to enhance her set
up in providing live music and visuals for modern and post-modern dance. Professional dance
musicians who compose and perform for modern dance class and performance are only focused
on constructing an immersive musical experience according to the choreography. Though one of
Joyce’s other mentor, John Osburn, has used Max MSP for sound when accompanying for
modern dance classes, professional dance musicians are not currently using Max as for audio
visual experiences and/or performances for modern dance.
New Skills Acquired
Prior to attending Berklee Valencia, Joyce had no knowledge of how to use Ableton Live,
Max MSP, Max for Live, the Softstep, Adobe Premiere, Adobe After Effects, Pro Tools, or
Cinema 4D. She also had no knowledge of any audio engineering or sound designing techniques
and skills. Joyce’s skills as a composer, sound designer, audio engineer, video editor, and visual
31
Mark Lincoln, “The Powerful Influence of African Culture on Modern Music”, Last Modified December
3, 2016, https://www.jamplay.com/articles/1-general/161-the-powerful-influence-of-african-culture-on-modernmusic.
32
A dance musician is a composer and/or an accompanist for dance classes or dance performances.
9
graphic content creator has specifically improved due to the courses offered through the Music
Production, Technology and Innovation program in Berklee Valencia. Enhancing her skills in
these areas have directly contributed to the creation and organization of her CE project
Emerging.
Challenges
Joyce faced a couple of challenges when figuring out how to execute her vision for
Emerging. The main challenge was finding the right pieces of music technology that formed her
set up for linking and triggering midi and visual effects while performing live percussion. Before
Joyce was using the APAC 40 and a midi AKAI keyboard to loop everything live. She found that
not only was it difficult to loop every musical idea live through Ableton’s live looping feature
but the APAC 40 only allowed eight tracks to be recorded and looped at the same time. At the
end, Joyce realized she needed more simple set up and a midi controller device that would allow
her to play fifty tracks, navigate down scenes in the Ableton Live Set while also trigger dummy
midi tracks that were programmed to generate certain visual effects in Joyce’s customized Max
patches, simultaneously. Her final set up for Emerging was her laptop which was connected to a
Focusrite Scarlett audio interface and the Softstep via USB connection. In addition, her laptop
was also connected via thunderbolt to HDMI to a short throat projector.
The second challenge Joyce encountered was finding dancers. She was not able to
confirm dancers for her piece until the spring semester. Fortunately, for the Electronic Music
Production course, Joyce collaborated with Raquel Sanchez, for Joyce’s Live Performance
project. This assignment was the beginning of Joyce and Raquel’s partnership in exploring dance
and music together in a performance. Raquel danced in a contemporary dance company in
10
Valencia, Spain. She asked one of her colleagues, Rosa Llobell, from her dance company to
collaborate with Joyce in creating a language and communication between movement and music.
After many rehearsals together, Joyce, Raquel and Rosa figured out a very comfortable and
simulating process when improvising and communicating with each other during the process
searching for the end product of Emerging.
The third challenge was finding a suitable venue or space for the performance to take
place. Joyce’s performance required a large and open space to project her visuals, outlets to set
up and plug in a PA system as well as a proper and spacious dance floor for Raquel and Rosa to
dance on. Due to receiving help from Pablo Munguia, the program director of MPTI and Centre
del Carmen, Joyce was able to perform and debut Emerging in Sala Dormitorio on June 25,
2019.
The final challenge for this project was finding reliable resources to reference West
African, Afro Cuban and Mediterranean rhythms and techniques. She also found it difficult to
obtain references for professional dance musicians that have influenced Joyce’s professional and
musical background and her project Emerging. There are not many articles or resources that are
easily accessible to academically reference the dance musician/accompaniment culture and
profession. The International Guild of Musicians in Dance is a non-profit organization dedicated
to documenting the history of musicians in dance since 1990.33 Though such an organization
exists, people must have a paid membership to have access to all the resources and files. Some of
the statements Joyce made in mentioning her mentors are mostly based on her experiences
33
International Guild of Musicians in Dance, “About”, http://igomid.camp9.org/.
11
working with them and observing them while accompanying modern dance classes at
universities and dance festivals.
Future Ramifications
Joyce believes documenting and writing about Emerging is important because it is an
opportunity to archive her contributions and journey as an upcoming professional dance
musician. Being a dance musician is not a popularly pursued career path. The current
professional dance musicians do not frequently write and/or publish about their contributions to
music for modern/post-modern dance or any other type of dance in general. Other than her own
written interview speaking about being a dance accompanist34, Joyce has found a couple of
written interviews of professional dance accompanists like Philippe Klaus.35 However, Joyce has
noticed there are many video documentations of current professional dance musicians
accompanying dance classes, composing and/or performing in dance performances. Michael
34
Johnny Nevin, “Composing Music for Dance: Joyce Lindsey and John Cartwright’s ‘Fluid’”, Dancer
Music: Discovery for Dancers. Johnny Nevin, July 1, 2017, https://dancermusic.com/composing-music-for-dancejoyce-lindsey-and-john-cartwrights-fluid/.
35
Sydney Dance Company, “Interview with Accompanist Philippe Klaus”, Sydney Dance Company. July
13, 2017, https://www.sydneydancecompany.com/interview-accompanist-philippe-klaus/#.XR0rn5MzbPA.
12
Wall36, Carlos Duran37 John Osburn38, JT Toenjes39, Vincent Pierce Smith40 Atiba Rorie41,
Terrence Karn,42Arcadio M. Lanz43 44, Andy Hasenpflug45, Claudia Howard Queen46 47, Dylan
Gomez48, and many others are examples of current professional dance musicians who have video
documented themselves providing music for dance classes, as well as performing for
modern/postmodern dance performances. She has also encountered books that speak about
piano accompaniment for ballet such as Dance and Music by Harriet Cavalli49. However, Joyce
has not found many articles or books that document the current contributions of dance musicians
in the current dance world.
36
Michael Wall and Pamela Pietro, “Pamela Pietro and Michael Wall”, Posted December 22, 2007,
YouTube, 9:57. https://www.youtube.com/watch?v=LxjX4CIaU8k.
37
Carlos Duran, “Carlos Duran – Modern Dance Accompaniment in 6/8”, Posted February 16, 2016,
YouTube, 0:55. https://www.youtube.com/watch?v=rfbxGZ9OvVQ.
38
John Osburn, “John Osburn – Performance Collage”, Posted February 8, 2010, YouTube, 4:26.
https://www.youtube.com/watch?v=JgzxL6Qss0s.
39
JT Toenjes, “Dance Class Accompaniment Video #1”, Posted December 1, 2011, YouTube, 1:40.
https://www.youtube.com/watch?v=X5K7UeR-ijo&list=PLpdTW2zdN5YFKmgCN5PEJ7BB8hHTjaiha.
40
Vincent Pierce Smith, “Dance Class at Mason Gross”, Posted June 2, 2009, YouTube, 4:13.
https://www.youtube.com/watch?v=Me2iEx-RyAU.
41
Atiba Rorie, “ADF Musician: Atiba Rorie”, Posted July 6, 2011, YouTube, 1:49.
https://www.youtube.com/watch?v=mbeKKc-8C1E.
42
Terrence Karn, “Terrence Karn playing for modern dance”, Posted December 6, 2017, YouTube, 6:58.
https://www.youtube.com/watch?v=PrHMg2HKC-g.
43
Arcadio M. Lanz, ”Memoria Vertebrate (Vertebrate Memory)”, Posted May 5, 2017, YouTube, 11:58.
[https://www.youtube.com/watch?v=va9kGRb44FI&t=645s.
44
Arcadio M. Lanz, ”Music Accompaniment for Dance (Except)”, Posted January 26, 2017, YouTube,
1:30. https://www.youtube.com/watch?v=pKyr-sA2by4.
45
Andy Hasenpflug, “ADF Musician: Andy Hasenpflug”, Posted July 4, 2011, YouTube, 1:04,
https://www.youtube.com/watch?v=MluatwbqKos.
46
Claudia Howard Queen, “Wind on Mountain’ Modern Dance”, Posted July 18, 2012, YouTube, 8:45,
https://www.youtube.com/watch?v=F7MgaiFeyRI.
47
Claudia Howard Queen and Dylan Gomez, “Paul Taylor Project: ADF 2009”, Posted July 6, 2009,
YouTube, 5:49, https://www.youtube.com/watch?v=x_THxyNnzpI.
48
Ibid.
49
Harriet Cavalli, Dance and Music: A Guide to Dance Accompaniment for Musicians and Dance
Teachers, University Press of Florida, 2001.
13
Joyce’s future plans include a variety of goals she would like to work towards. Joyce
would like to continue working on Emerging. However, she will use the format of Emerging in
collaboration with new dancers and choreographers. She intends to market herself as a dance
composer, who provides customized sound design, music compositions, visual content and live
percussion to achieve the vision and theme of choreographers. Joyce also plans to apply for the
ACRE Artist Residency in Chicago/Wisconsin and Bemis Center for Contemporary Arts in
Albuquerque, New Mexico, during the year 2020. She wants to further enhance the quality of the
visual content by teaching herself how to use TouchDesigner and linking midi information with
Max for live. After taking the Professional Sound Design class, Joyce realized how much she
enjoyed designing sound for film and animations. She also intends to apply for the
graduate/internship program offered by Skywalker sound in June 2020 to enhance her skills as a
sound designer for film and eventually work on big budget films and animations. Furthermore,
Joyce will be moving back to Chicago to resume her career as a dance musician, educator and
performer.
Conclusion
The final performance of Emerging was the beginning of uncovering how Joyce wanted
to integrate and apply all her skills as a performer, composer, visual artist, sound designer, and
percussionist. Joyce’s discovery of the connection between all her skills and knowledge and how
to use them to her advantage in building her career was a very valuable and significant lesson to
learn. She finally realized the common factor of her talents and skills are linked to movement
and timing. Joyce was constantly finding movements in electronic synths, in sound textures, in
drum patterns, in videos, in drawings in order to sync them together to craft in depth, multimedia
experiences. Joyce feels that after her culminating experience, she finally found an artistic
14
identity that encompasses her multi-faceted nature, which is being a multimedia artist. She
believes that by identifying in this way, it will allow her to be more confident in pursuing her
career in any field in the art, music, dance and film industry.
15
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1, 2016, http://www.sharesynth.com/create-a-video-synthesizer-with-vsynth-max-msp/.
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2,57, https://www.youtube.com/watch?v=dw2zRKTnWPI.
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18
Weinstein, Beth. 2011. "The Collaborative Legacy of Merce Cunningham." The Journal of
Public Schorlarship on Architecture, Landscape and Urbanism (Places Journal ) 1-5.
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Filmed [May 17,2012], Posted May 17, 2012, YouTube video, 3:45,
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19
EMERGING
Discovering My Style as a Multimedia Artist and Collaborator
“Submitted in Partial Fulfillment of the Degree of Master of Music in Music Production,
Technology and Innovation”
Advisor: Benjamin Cantil
By Joyce Lindsey
Valencia Campus, Spain
July 2019
Table of Contents
ACKNOWLEDGEMENTS________________________________________________________III
ABSTRACT____________________________________________________________________IV
INTRODUCTION_______________________________________________________________ 2
REVIEW OF THE STATE OF THE ART____________________________________________ 4
INNOVATION ASPECTS________________________________________________________ 7
NEW SKILLS ACQUIRED_______________________________________________________ 9
CHALLENGES_________________________________________________________________9
FUTURE RAMIFICATIONS______________________________________________________11
CONCLUSION_________________________________________________________________13
BIBILIOGRAPHY______________________________________________________________15
ii
Acknowledgement
I would like to give my thanks to all the people that have contributed to helping me make my
piece Emerging come to life. First and foremost, I would like to thank Raquel Sanchez, and Rosa
Llobell for dedicating time and energy to determine the direction and vision of my final piece.
Raquel and Rosa, I appreciate the openness, the spontaneity, and the fluidity that you both
expressed in movement and in attitude. Second, I would like to thank Robby Glade for being my
videographer since beginning of my culminating experience. Robby always went above and
beyond by always agreeing to video my prototypes. He rented out nine cameras with lighting and
tripods, providing amazing shots and angles for my final performance in Centre del Carmen.
Third, I thank Brett Meyer, who was my sound engineer. He created the standard method of how
to mic my specific percussion set up. I am grateful for his expertise in creating a great sound out
of my djembe-doumbek technique with mic positioning and selection. Fourth, I want to give an
enormous thank you to my advisor Ben Cantil, for giving me encouragement and confident. Ben
also recommended the Softstep, which became the perfect piece of technology that I needed for
my multimedia performance. Fifth, I want to also thank my program director Pablo Munguia for
finding an opening at Sala Dormitorio to showcase my first official performance of Emerging.
Sixth, huge thanks to Pierce Warnecke for exposing me to programming and linking midi to
effects in VIZZIE and vsynth as well as various types of music technology. Lastly, I want to
thank the Centre del Carme Cultura Contemporània for taking interest in showcasing my piece
Emerging in their space as well as advertising my performance to the people of Valencia. I
dedicate my CE paper to all the American Dance Festival musicians who have inspired me and
influenced me to be a dance musician and multimedia artist.
iii
Abstract
Emerging is a multimedia performance that involves the improvisation and
communication between the movement of dancers and visual synthesis, ambient, electronic
West-African and Afro-Cuban music and live percussion triggered and manipulated by a live
musician. Emerging is the result of Joyce Lindsey’s exploration in finding her style as a
multimedia artist and collaborator. She aims to provide experiences where she can combine her
skills as a sound designer, composer, percussionist and visual artist, in service to collaborating
with choreographers and filmmakers to actualize the vision and/or theme they seek to express in
their work.
Keywords: West African, Afro Cuban, Mediterranean, Modern Dance, Max MSP,
Ableton live set, djembe, doumbek
iv
Introduction
After discovering and cultivating her versatile talents as a visual artist, composer, sound
designer, performer and percussionist, Joyce reached a significant realization when exploring
what to do for her culminating experience. She found that her culminating experience should be
an exploration of how to combine and integrate dance, visual art, music and live performance
into one multimedia experience. Her piece, Emerging, became the initial stepping stone to
discovering her own artistic identity, as well as, her own style of creating music and sound
designing for modern/post-modern dance.
After years of studying drawing and painting, composing electronic music and interning at
the American Dance Festival (2011 – 2014)1, Joyce had this lingering curiosity of how she could
find the connections between all her talents and execute them simultaneously in her career. Once
Joyce was exposed to how to utilize various pieces of music technology such as: creating
customized max patches with VIZZIE2 and vsynth3, live fusion sets with Ableton4, and how to
1
American Dance Festival, “Who We Are”, Last Modified 2019,
https://americandancefestival.org/about/who-we-are/.
“Heralded as ‘One of the nation’s most important institutions’ by the New York Times and as ‘The world’s greatest
dance festival’ by the New York Post, the American Dance Festival’s sustained record of creative achievement is
indivisible from the history of modern dance”.
2
Cycling 74’, “Introduction to VIZZIE”, Last Modified November 19, 2010,
https://cycling74.com/articles/introducing-vizzie.
3
Sharesynth, “Creating a Video Synthesizer with Vsynth and Max MSP”, Last Modified August 1, 2016,
http://www.sharesynth.com/create-a-video-synthesizer-with-vsynth-max-msp/.
VIZZIE and vsynth are sets of modules through Max MSP, which allow people to create their own visual content
and live video with various effects. VIZZIE allows you to drop in video content and manipulate the video with
effect boxes and automated generators connect them to midi information in Ableton. Vsynth is similar to VIZZIE
where both allow to create customized video content, however, vsynth is a module video synthesizer. With vsynth’s
combination of “video synthesis and image processing with the efficiency of hardware accelerated processes” visual
content can be more individualized.
1
send midi data from Ableton to correspond with specific effects in Max MSP5, she discovered
these were the types of technology she has been searching to achieve her vision for Emerging.
Emerging was an exploration of how visual synthesis, movement by dancers, live percussion
and electronic music can influence and communicate with each other simultaneously in
performance. The visual content was developed by a customized Max MSP patch combining the
generative effects and shapes of VIZZIE and vsynth. The visual patterns generated by the Max
patch move and correspond to the sound textures, melodic and harmonic synths, and West
African and Afro-Cuban rhythms composed in an Ableton Live Set. The SoftStep6, a midi foot
controller device, was programmed to trigger audio effects, as well as changes and transitions in
the music and visuals when certain buttons were stepped on the device during the performance.
As all these elements were happening, two female dancers, Raquel Sanchez and Rosa Llobell,
were contact-improvising7 to the visual patterns, electronic music and live playing of djembe8,
4
Subaqueous, “Creating You Live Performance Setup” Last Modified July 28, 2015,
https://www.subaqueousmusic.com/creating-your-live-performance-setup/.
According to the section, “Live Fusion for Flexibility”, a live fusion set is when Ableton’s session view is being
used to build a live set of prerecorded material while also performing live. Each scene in the live set in Ableton’s
session view can be triggered by a midi controller device while playing an instrument at the same time.
5
Cycling 74’, Home Page, https://cycling74.com/.
“Max MSP is a visual programming language for specialized needs of artists, educators, and researchers working
with audio, visual media, and physical computing”.
6
Keith McMillen Instruments, Softstep 2, https://www.keithmcmillen.com/products/softstep/.
“Softstep 2 is a generational leap beyond traditional pedalboards: an unbreakable connectivity to any and all of your
rigs. The ten gesture-sensitive pads register pressure and position, allowing you not just precision, but expression in
your foot controls”.
7
Contact Quarterly: Dance & Improvisation Journal, “About Contact Improvisation”, Last Modified 2014,
https://contactquarterly.com/contact-improvisation/about/.
“Contact Improvisation is an evolving system of movement initiated in 1972 by American choreographer Steve
Paxton. The improvised dance form is based on the communication between two moving bodies that are in physical
contact and their combined relationship to the physical laws that govern their motion—gravity, momentum,
inertia… Contact improvisations are spontaneous physical dialogues that range from stillness to highly energetic
exchanges”.
2
doumbek9 and ankle bells10, by Joyce Lindsey. The improvisation and communication between
the visuals, live musician and dancers synchronized to determine the end product of the
performance.
In order to document her performance at Centre del Carmen, Joyce had to record her live set
on Ableton on her computer. Joyce also needed a sound engineer, Brett Mayer, present to record
her live percussion on his computer, so Joyce’s computer did not malfunction or shut down
during the performance due to the use of Max MSP and Ableton being used at the same time to
provide both electronic music and visuals. Joyce found through her third prototype that she
needed five microphones to record her live percussion set. She found that two SM57s11, two
AKG P420 condensers12, and one SM5813 were the best microphones to use to capture the
colors, tones and timbre of Joyce’s djembe, doumbek, and ankle bells.
8
Drum Connection International, “History of the Djembe”, https://www.drumconnection.com/africaconnections/history-of-the-djembe/.
“The djembe is one of West Africa’s best known instruments. This goblet-shaped drum is traditionally carved from
a single piece of African hardwood and topped with animal skin as a drumhead…Some say the name of the djembe
came from the Bamana in Mail, who said, ‘Anke dje anke be’, to call their people together, as the saying translates
‘everyone gather together.’ ‘Dje’ means gather and ‘be’ mean everyone.”
9
Raquy Drum Store, “What’s a Doumbek”, http://www.raquydrumstore.com/whats-a-doumbek.
The Egyptian doumbek or table is [probably] the best known style of Arabic drum[ming]. Doumbek (aka darbuka,
darabukeh, dumbek, derbekeh, dumbelek, table, tarabuka); traditionally hail throughout the Middle East, and North
Africa, Turkey, Greece, and the Balkans and vary slightly in technique and manufacture according to region”.
10
Bellydance.com World’s Largest BellyDance Superstore, “Salangai Indian Dance Ankle Bells Padded
Angles”, https://www.bellydance.com/Salangai-Indian-Ankle-Bells-(PAIR)-BLACK.html. The Salangai Indian
Ankle Bells are what Joyce used to create a foot pattern during the performance of Emerging.
.
11
Shure, SM57, https://www.shure.com/en-US/products/microphones/sm57.
The Shure SM57 is a dynamic cardioid microphone “uniquely designed to deal with high pressure sound that
explodes from instruments to amplifiers”. Due to drums and percussion producing high pressure sounds, the SM57
is one type that is best to use when recording djembe and doumbek.
12
AKG Harman, P420, https://www.akg.com/Microphones/Condenser%20Microphones/P420.html.
”The P420 is multi-pattern large diaphragm true condenser microphone for demanding project studio recording
applications. Offering high sensitivity and 155dB maximum SPL, the P420 delivers a warm, transparent sound
quality perfectly suited for ensemble recording, grand piano, woodwind, and brass instruments, as well as drums and
percussion.” This microphone was used to capture the bass sound of the doumbek and/or the bell sounds from the
ankle bells.
3
Review of the State of the Art
In her discovery of finding inspiration and influences of what Joyce seeks to do through her
culminating experience, she found the works of John Cage, Thierry de Mey, Michael Wall, Yun
Ho Choi and the musical techniques of West African, Afro Cuban and Mediterranean styles of
percussion. John Cage had a very close artistic and professional collaboration with Merce
Cunningham. Both Cage and Cunningham came up with the “four key discoveries”14, which
were methods that they both used in their creative process and collaborations. The first “key
discovery” or method they used was “the separation of music and dance”15. Cage and
Cunningham wanted to develop the dance and the music separately so that the dance or music
were not supported or dependent on each other. They wanted to maintain the independence of
their own process of creating music and dance. On the day of the performance, Cage and
Cunningham would put both the dance and the music together to see how the pieces of art come
to life. “The non-subornation of [dance and music] would allow them to be developed
independently and largely in isolation, resulting in all the parts of the performance parts (dance,
music, lighting, costumes, and set) coming together at the last minute before the curtain rises”.16
Joyce can relate with this method of collaboration because she was intrigued by the
unpredictability of how the dance and the music will work together once both elements are
combined in a performance. Joyce adopted this method of collaboration but with a different
approach. Instead of developing music separately from dancers, she created sound textures,
13
Shure, SM58, https://www.shure.com/en-US/products/microphones/sm58.
The Shure SM58 is a dynamic cardioid microphone that produces a “warm, crisp sound”. This microphone was used
to record the sound of ankle bells as well.
14
Beth Weinstein, The Collaborative Legacy of Merce Cunningham (2011), 1
Ibid.
16
Ibid.
15
4
soundscapes, rhythms and harmonies based the communication and improvisation process Joyce,
Rosa and Raquel developed in many rehearsals between the music and the movement.
Like John and Merce, Thierry de Mey did many musical and cinematic collaborations with
dancer and choreographer Anne Teresa de Keersmaeker. Thierry’s electronic, experimental
music for dance inspired Joyce to dive more into the experimental, electronic-foley-rhythmic
world of producing music for dance by inventing new sounds and incorporating them into her
process of composing. In Rosas danst Rosas, de Keermaeker positioned three women sitting
diagonally from each other. As the three women were thrashing their heads up and down,
crossing and uncrossing their leg, standing and sitting, de Mey’s composition of rhythmic,
repetitive ticking, foot stomping, and crashing of metallic objects come together to compliment
the extensive and intriguing sequence of movement throughout the piece.17 Joyce was inspired to
design sounds that inspired her dancers to move internally and externally. She wanted to create
textures, synths, and combinations of rhythms as well as electronic sounds she has never heard
before or created for dancers.
Joyce studied West African djembe and duns-duns, Afro-Cuban congas and Mediterranean
doumbek for nine years. She learned all of these different percussion techniques in relation to
playing for contemporary West African, Afro-Cuban and modern/postmodern dance. Among the
rhythms Joyce frequently played for West African and/or modern/postmodern dance classes
were Sorsornet from the Baga people in West Guinea18, Soli from the Malinke people in
17
Anne Theresa de Keermaeker and Thierry de Mey, Rosas Danst Rosas (2008).
“126 West African Percussion Rhythms From Guinea and other countries”. September 2009. The reason
why there is no author, or specific musician to reference the origin of West African music or the notation is because
West African music belongs a collective ethnic group or multiple ethnic groups that play for different functions and
life events.
18
5
Northwest Guinea19, Bembe from Cuba20 21, and Ayoub from Egypt and Lebanon and Maqsoum
from Egypt22. Joyce fused and integrated these rhythms as part of her acoustic and electronic
performance with looping the live playing of djembe, doumbek, and electronic sounds. Joyce
specifically, fused multiple rhythmic parts of West African Sorsornet and Afro Cuban Bembe.
She noticed both rhythms fit perfectly together due to their complementary rhythmic patterns and
similar time signature of 6/8.
Joyce also developed a drumming style that combines the percussion techniques of djembe,
conga and doumbek while playing the djembe and the doumbek simultaneously23. During her
live performance, she integrated her technique by producing rhythms and sound textures in
reaction and communication with the movement of Rosa and Raquel. Michael Wall had been one
of Joyce’s mentors for a decade. Michael Wall is an innovator in many ways by incorporating
Ableton Live, playing live trumpet, piano and percussion in his musical set up to create music for
dance in modern dance classes and for live dance performances.24 Michael Wall also an
innovator because he created a website called SoundforMovement25,where dancers can go on the
website and pay a reasonable price for music composing by Michael Wall organized by meter,
tempo and description. Like Michael Wall, Joyce used Ableton Live, however in correspondence
19
“126 West African…”, Ibid.
Raices Africanas, Elegua (Bembe) (2005).
21
“6/8 Afro Cuban Rhythms (Bembe), Railroad Media, Inc. (2006 – 2012).
22
Maura Enright, Middle Eastern and Mediterranean Music Rhythms: Diagrams and Performance Ads,
(2012 – 2015).
23
Joyce Lindsey, “Emerging (2019)”, Posted May 9, 2019, YouTube Video, 8:16,
https://www.youtube.com/watch?v=e5MbSoAPaaI.
20
24
Michael Wall, “Michael Wall: Demo Using Ableton Live in Dance Class”, Filmed [May 17, 2012]
Posted May 17, 2012, YouTube video, 3:45, https://www.youtube.com/watch?v=yxu-y-XV-BM.
25
Michael Wall, “SoundFORmovement”, https://soundformovement.com/home.
6
with Max for Live as way to control her prerecorded midi composition and the generative visuals
she created through Max’s VIZZIE and vsynth.
Tacitrune26 was the closest performance example Joyce found that was the most similar to
what she achieved in her piece Emerging. Yun Ho Choi, a former graduate student at the NYU
Tisch School for the Arts in 2017, created and performed, Tacitrune. Tacitrune was an audiovisual performance which reflected on a personal journey through four different themes: chaos,
childhood, tenacity and tacitrune. Choi composed four prerecorded compositions and organized a
live set in Ableton to navigate through each musical theme. He also designed visuals and
animations through TouchDesigner27 to illustrate the journey between each theme and
movement. Finally, Choi used Max for Live to have the midi information to link with changes in
the story and visual effects. During the four musical movements of Tacitrune, Choi performed
live music with a midi controller keyboard and a dancer embodied the themes with prepared
choreography. Choi’s Tacitrune was one of the only audio-visual dance performances Joyce had
discovered, where one person was controlling both the visuals and music through their computer,
while also performing live music with a dancer.
26
Yun Ho Choi, “Tacitrune: audio-visual dance performance” Posted [May 26, 2017] YouTube video, 9:19.
https://www.youtube.com/watch?v=5IkgWBvUBzk&lc=z232j5wzdne5d5dwe04t1aokg22syjbkdiqq2gx2yzjork0h00
410&feature=em-comments.
27
Derivative, Home Page, https://www.derivative.ca/.
“TouchDesigner is a visual development platform that equips you with the tools you need to create stunning realtime
projects and rich user experiences. Whether you're creating interactive media systems, architectural projections, live
music visuals, or simply rapid-prototyping your latest creative impulse, TouchDesigner is the platform that can do it
all.”
7
Innovative Aspects
When Joyce did her research, she realized she was not the first to create an audio-visual
dance performance. However, Joyce found there are some innovative aspects that she
incorporated in her live multimedia performance Emerging. First example of innovation is
Joyce’s percussion technique, which is a combination of West African djembe, Afro Cuban
conga and Mediterranean doumbek world percussion techniques. Joyce discovered Tom Teasley
was a professional world percussionist, who taught and demonstrated his djembe- doumbek
technique through YouTube tutorials. If Teasley’s technique and Joyce’s technique were to be
compared, one would notice that there are significantly different. Tom’s technique combined
Turkish doumbek split-finger technique and American drumline rudiments when playing both
djembe, doumbek and a foot pattern with foot pedal cowbell.2829 When applying her unique
percussion technique, Joyce used the djembe bass hit, tone and slap, the conga slap, the
Mediterranean doumbek finger roll, and West African djembe six roll when playing her
doumbek, djembe and a South Indian ankle bells. In the video documentation of Emerging,
Joyce demonstrates her djembe-doumbek technique and all of the sounds and gestures
described.30
Second example of innovation is the fusion of West African Sorsornet and Afro Cuban
Bembe rhythms simultaneously playing together and integrated into an electronic music
28
Tom Teasley, “Tom Teasley-Doumbek and Djembe” Posted July 12, 2011, YouTube video, 2:57,
https://www.youtube.com/watch?v=dw2zRKTnWPI.
29
Tom Teasley, “World Percussionist Tom Teasley- L.P. DJEMBE, REMO DOUMBEK, SABIEN
CYMBALS with FOOT PATTERN SOLO” Posted December 9, 2012, YouTube Video, 3:22,
https://www.youtube.com/watch?v=liKKWEclsmo.
30
Joyce Lindsey, “Emerging 2019 MM Thesis”, Posted June 30, 2019, YouTube Video, 10:14,
https://www.youtube.com/watch?v=ls4WXGESpAQ.
8
composition. Joyce seen many examples and performances where both rhythms were played live
and in recordings but always separately and never together. Joyce wanted to incorporate both
rhythms in her electronic music composition to pay homage to how African rhythms have
influenced genres like house, EDM, disco, trance and techno31 and to experiment with merging
these rhythms with an ambient, electronic modern dance composition.
Third innovative aspect of Joyce’s project was the use of her background as professional
dance musician32 and integrating pieces of music technology such as: the Softstep, Ableton Live,
Max for Live, sound design, electronic music composition and live percussion to enhance her set
up in providing live music and visuals for modern and post-modern dance. Professional dance
musicians who compose and perform for modern dance class and performance are only focused
on constructing an immersive musical experience according to the choreography. Though one of
Joyce’s other mentor, John Osburn, has used Max MSP for sound when accompanying for
modern dance classes, professional dance musicians are not currently using Max as for audio
visual experiences and/or performances for modern dance.
New Skills Acquired
Prior to attending Berklee Valencia, Joyce had no knowledge of how to use Ableton Live,
Max MSP, Max for Live, the Softstep, Adobe Premiere, Adobe After Effects, Pro Tools, or
Cinema 4D. She also had no knowledge of any audio engineering or sound designing techniques
and skills. Joyce’s skills as a composer, sound designer, audio engineer, video editor, and visual
31
Mark Lincoln, “The Powerful Influence of African Culture on Modern Music”, Last Modified December
3, 2016, https://www.jamplay.com/articles/1-general/161-the-powerful-influence-of-african-culture-on-modernmusic.
32
A dance musician is a composer and/or an accompanist for dance classes or dance performances.
9
graphic content creator has specifically improved due to the courses offered through the Music
Production, Technology and Innovation program in Berklee Valencia. Enhancing her skills in
these areas have directly contributed to the creation and organization of her CE project
Emerging.
Challenges
Joyce faced a couple of challenges when figuring out how to execute her vision for
Emerging. The main challenge was finding the right pieces of music technology that formed her
set up for linking and triggering midi and visual effects while performing live percussion. Before
Joyce was using the APAC 40 and a midi AKAI keyboard to loop everything live. She found that
not only was it difficult to loop every musical idea live through Ableton’s live looping feature
but the APAC 40 only allowed eight tracks to be recorded and looped at the same time. At the
end, Joyce realized she needed more simple set up and a midi controller device that would allow
her to play fifty tracks, navigate down scenes in the Ableton Live Set while also trigger dummy
midi tracks that were programmed to generate certain visual effects in Joyce’s customized Max
patches, simultaneously. Her final set up for Emerging was her laptop which was connected to a
Focusrite Scarlett audio interface and the Softstep via USB connection. In addition, her laptop
was also connected via thunderbolt to HDMI to a short throat projector.
The second challenge Joyce encountered was finding dancers. She was not able to
confirm dancers for her piece until the spring semester. Fortunately, for the Electronic Music
Production course, Joyce collaborated with Raquel Sanchez, for Joyce’s Live Performance
project. This assignment was the beginning of Joyce and Raquel’s partnership in exploring dance
and music together in a performance. Raquel danced in a contemporary dance company in
10
Valencia, Spain. She asked one of her colleagues, Rosa Llobell, from her dance company to
collaborate with Joyce in creating a language and communication between movement and music.
After many rehearsals together, Joyce, Raquel and Rosa figured out a very comfortable and
simulating process when improvising and communicating with each other during the process
searching for the end product of Emerging.
The third challenge was finding a suitable venue or space for the performance to take
place. Joyce’s performance required a large and open space to project her visuals, outlets to set
up and plug in a PA system as well as a proper and spacious dance floor for Raquel and Rosa to
dance on. Due to receiving help from Pablo Munguia, the program director of MPTI and Centre
del Carmen, Joyce was able to perform and debut Emerging in Sala Dormitorio on June 25,
2019.
The final challenge for this project was finding reliable resources to reference West
African, Afro Cuban and Mediterranean rhythms and techniques. She also found it difficult to
obtain references for professional dance musicians that have influenced Joyce’s professional and
musical background and her project Emerging. There are not many articles or resources that are
easily accessible to academically reference the dance musician/accompaniment culture and
profession. The International Guild of Musicians in Dance is a non-profit organization dedicated
to documenting the history of musicians in dance since 1990.33 Though such an organization
exists, people must have a paid membership to have access to all the resources and files. Some of
the statements Joyce made in mentioning her mentors are mostly based on her experiences
33
International Guild of Musicians in Dance, “About”, http://igomid.camp9.org/.
11
working with them and observing them while accompanying modern dance classes at
universities and dance festivals.
Future Ramifications
Joyce believes documenting and writing about Emerging is important because it is an
opportunity to archive her contributions and journey as an upcoming professional dance
musician. Being a dance musician is not a popularly pursued career path. The current
professional dance musicians do not frequently write and/or publish about their contributions to
music for modern/post-modern dance or any other type of dance in general. Other than her own
written interview speaking about being a dance accompanist34, Joyce has found a couple of
written interviews of professional dance accompanists like Philippe Klaus.35 However, Joyce has
noticed there are many video documentations of current professional dance musicians
accompanying dance classes, composing and/or performing in dance performances. Michael
34
Johnny Nevin, “Composing Music for Dance: Joyce Lindsey and John Cartwright’s ‘Fluid’”, Dancer
Music: Discovery for Dancers. Johnny Nevin, July 1, 2017, https://dancermusic.com/composing-music-for-dancejoyce-lindsey-and-john-cartwrights-fluid/.
35
Sydney Dance Company, “Interview with Accompanist Philippe Klaus”, Sydney Dance Company. July
13, 2017, https://www.sydneydancecompany.com/interview-accompanist-philippe-klaus/#.XR0rn5MzbPA.
12
Wall36, Carlos Duran37 John Osburn38, JT Toenjes39, Vincent Pierce Smith40 Atiba Rorie41,
Terrence Karn,42Arcadio M. Lanz43 44, Andy Hasenpflug45, Claudia Howard Queen46 47, Dylan
Gomez48, and many others are examples of current professional dance musicians who have video
documented themselves providing music for dance classes, as well as performing for
modern/postmodern dance performances. She has also encountered books that speak about
piano accompaniment for ballet such as Dance and Music by Harriet Cavalli49. However, Joyce
has not found many articles or books that document the current contributions of dance musicians
in the current dance world.
36
Michael Wall and Pamela Pietro, “Pamela Pietro and Michael Wall”, Posted December 22, 2007,
YouTube, 9:57. https://www.youtube.com/watch?v=LxjX4CIaU8k.
37
Carlos Duran, “Carlos Duran – Modern Dance Accompaniment in 6/8”, Posted February 16, 2016,
YouTube, 0:55. https://www.youtube.com/watch?v=rfbxGZ9OvVQ.
38
John Osburn, “John Osburn – Performance Collage”, Posted February 8, 2010, YouTube, 4:26.
https://www.youtube.com/watch?v=JgzxL6Qss0s.
39
JT Toenjes, “Dance Class Accompaniment Video #1”, Posted December 1, 2011, YouTube, 1:40.
https://www.youtube.com/watch?v=X5K7UeR-ijo&list=PLpdTW2zdN5YFKmgCN5PEJ7BB8hHTjaiha.
40
Vincent Pierce Smith, “Dance Class at Mason Gross”, Posted June 2, 2009, YouTube, 4:13.
https://www.youtube.com/watch?v=Me2iEx-RyAU.
41
Atiba Rorie, “ADF Musician: Atiba Rorie”, Posted July 6, 2011, YouTube, 1:49.
https://www.youtube.com/watch?v=mbeKKc-8C1E.
42
Terrence Karn, “Terrence Karn playing for modern dance”, Posted December 6, 2017, YouTube, 6:58.
https://www.youtube.com/watch?v=PrHMg2HKC-g.
43
Arcadio M. Lanz, ”Memoria Vertebrate (Vertebrate Memory)”, Posted May 5, 2017, YouTube, 11:58.
[https://www.youtube.com/watch?v=va9kGRb44FI&t=645s.
44
Arcadio M. Lanz, ”Music Accompaniment for Dance (Except)”, Posted January 26, 2017, YouTube,
1:30. https://www.youtube.com/watch?v=pKyr-sA2by4.
45
Andy Hasenpflug, “ADF Musician: Andy Hasenpflug”, Posted July 4, 2011, YouTube, 1:04,
https://www.youtube.com/watch?v=MluatwbqKos.
46
Claudia Howard Queen, “Wind on Mountain’ Modern Dance”, Posted July 18, 2012, YouTube, 8:45,
https://www.youtube.com/watch?v=F7MgaiFeyRI.
47
Claudia Howard Queen and Dylan Gomez, “Paul Taylor Project: ADF 2009”, Posted July 6, 2009,
YouTube, 5:49, https://www.youtube.com/watch?v=x_THxyNnzpI.
48
Ibid.
49
Harriet Cavalli, Dance and Music: A Guide to Dance Accompaniment for Musicians and Dance
Teachers, University Press of Florida, 2001.
13
Joyce’s future plans include a variety of goals she would like to work towards. Joyce
would like to continue working on Emerging. However, she will use the format of Emerging in
collaboration with new dancers and choreographers. She intends to market herself as a dance
composer, who provides customized sound design, music compositions, visual content and live
percussion to achieve the vision and theme of choreographers. Joyce also plans to apply for the
ACRE Artist Residency in Chicago/Wisconsin and Bemis Center for Contemporary Arts in
Albuquerque, New Mexico, during the year 2020. She wants to further enhance the quality of the
visual content by teaching herself how to use TouchDesigner and linking midi information with
Max for live. After taking the Professional Sound Design class, Joyce realized how much she
enjoyed designing sound for film and animations. She also intends to apply for the
graduate/internship program offered by Skywalker sound in June 2020 to enhance her skills as a
sound designer for film and eventually work on big budget films and animations. Furthermore,
Joyce will be moving back to Chicago to resume her career as a dance musician, educator and
performer.
Conclusion
The final performance of Emerging was the beginning of uncovering how Joyce wanted
to integrate and apply all her skills as a performer, composer, visual artist, sound designer, and
percussionist. Joyce’s discovery of the connection between all her skills and knowledge and how
to use them to her advantage in building her career was a very valuable and significant lesson to
learn. She finally realized the common factor of her talents and skills are linked to movement
and timing. Joyce was constantly finding movements in electronic synths, in sound textures, in
drum patterns, in videos, in drawings in order to sync them together to craft in depth, multimedia
experiences. Joyce feels that after her culminating experience, she finally found an artistic
14
identity that encompasses her multi-faceted nature, which is being a multimedia artist. She
believes that by identifying in this way, it will allow her to be more confident in pursuing her
career in any field in the art, music, dance and film industry.
15
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Media of
