MUSIC TECHNOLOGY WORKSHOP: “Interactive systems applied to instrumental interpretation”


Formative action addressed to:
Audiovisual artists, musicians, sound artists, engineers, computer scientists, and in general to all those interested in the applications of interactive technologies.


First meeting:
Workshop of 4 hours imparted by Vicent Gómez Pons


Mixed electroacoustic music: the performer and the technological challenges

The combination of traditional instruments with media such as tape, electronic devices, live signal processing, video, etc. is considered mixed music.

Although composers write more and more works for this genre and mixed electroacoustic works are more often programmed in contemporary music concerts, the training of musicians for the performance of mixed works is not well developed in the institutions of music. When a graduate student of a Bachelor Conservatory graduates, generally, he is very prepared to face the traditional repertoire of his instrument, and little or nothing to do it with technological medium.

A musician of this time, should be trained to explore the new sound possibilities offered by new technologies and face, with no fear, any musical proposal that includes electronic-musical media.

This workshop is dedicated to the acquisition of knowledge of techniques and strategies that favor the relationship between the instrumental gesture and the electroacoustic matter as well as the operation and basic configuration of the technological resources: mixer, microphones, midi controllers, sensors, loudspeakers, sound cards and most used programs such as MaxMSP, Soundcool, PD and others.



    1. Electroacoustic music
    2. Performer set of mixed music:
    a. Mixer
    b. Cables
    c. Microphones
    d. Speakers
    e. Sound card
    f. Controllers
    3. Digital Audio basic skills
    4. Introduction to Midi
    5. Software: score editor, audio editor, sequencers, MaxMSP, Supercollider, Pure Data, Qlab and qwertyGO.
    6. Introduction to Soundcool system. Collaborative project.


Second meetinc:
Workshop of 4 hours imparted by Stefano Scarani

Detailed program of the course:

Introduction to basic theoretical concepts related to the creation and realization of interactive systems for art through the practical realization of an audiovisual interactive work.


In this course-laboratory theoretical and practical-methodological aspects will be presented in the ideation and concrete realization of projects that involve a specific relationship between person and device. Each theoretical aspect will be connected to the practical realization to allow a direct assimilation of the causes and consequences of each concept and problem.
Complete or partial interaction systems will be built with the use of a series of sensors, from those most present in daily life, to specific technologies and perhaps unique in their kind, as is the case of Kinect and LeapMotion.




    – Interaction: functions and utility
    – Multisensory perception and multisensory representation
    – Linearity and no-linearity
    – Action and reaction; feedback as interaction


    – Ideation of a flow diagram
    – Hardware and software technology
    – The mediator: Sensor in practice
    – Collective creation of an interactive work that includes all the arguments of the meeting


Third meeting:
Workshop of 4 hours imparted by Vicent Gómez Pons

Basic MaxMSP
Max / MSP is a graphic programming environment for music, audio and multimedia applications. This program was developed in the mid-eighties at IRCAM by Miller Puckette and subsequently implemented by David Zicarelli and Cycling’74, (the company that sells it since 1997). There are many professionals who use this program, creating customized tools for composition, sound design, live performances and audiovisual installations.

Max is used for composition, creation and design of interactive programs with music and multimedia. It has much flexibility for interaction with a variety of media, protocols and interfaces.

This workshop presents the main objectives of making contact with the user-level program and assimilation of basic concepts of programming in that environment applied to the interaction with acoustic i digital instruments.

At the end of the workshop, the participants will develop a customized project that will serve, as a practice, for an improvisation session.


1st Meeting:

All the conferences schedule at the first meeting will be:

    • – Vinko Globokar: “Anti-Badabum: New percussion aesthetic”
    • – Pascal Pons: “The Percussion Instruments Family  – World Market – Reflexion about cultural identity. Way of using them in some Repertoire Pieces and which Directions for the future”
    • – Gaston Sylvestre: “Percussion Theater-music in Vinko Globokar’s music”

    “Percussion Theater-music in G. Aperghis, G. Battistelli and M. Kagel music”


3rd Meeting

– 4th April – Carola Bauckholt: “Music theatre in percussion works by Carola Bauckholt”

– 6th and 8th April – Christian Dierstein:”Sound transformation: from sound to noise to sound in works by Helmut Lachenmann ““Sound exploration in percussion works by Billone”

– 8th April – José Luis Torá: From the body of sound (from / to percussion)