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musical documentation
title: Resonant Black
sub-title: for baritone and computer

year of composition: 1998
realized at: Sonology Department, Kunitachi College of Music

duration: ca. 10 min.
____concert: SonicArt ’99
____place: Nikkei hall, Tokyo, Japan
____date: March 26, 1999
____musician: Atsushi Okamoto, baritone
____live computer electronic system

program note:
“resonant black for baritone and computer” was composed for a Japanese baritone singer Atsushi Okamoto, at the Sonology Department of Kunitachi College of Music in 1998. In this piece, it was tried to integrate sound and visual image of baritone performance both are expanded by computers, on the stage. The real-time audio signal processing part was written in “Max” which was developed by Miller Puckette, and the real-time image signal processing part was written with “DIPS (Digital Image Processing with Sound)” which was developed by Shu Matsuda, as the plug-in into “SGI Max”. Matsuda’s technical cooperation made visual image part of this piece possible.
____With real-time audio signal processing technique such as spectrum analysis/resynthesis, cross synthesis, amplitude modulation, spatialization etc, the computer system expands timbre domain and spatial axis of baritone singing. On the other hand, the computer plays the other voice of music with real-time granular synthesis/sampling. The view of performance on the stage is sent to the image processing computer via a video-camera, and projected to the screen with being added some visual effects such as zoom, cut-up, changing the color, etc.
____Some of performance information of baritone (pitch, amplitude etc) is trucked by the computer through the piece, and its result is applied to some parameters of audio/image signal processing.
____This piece has three sections with the motives “stir”, “meditation” and “thinking”.

____Residence Prize (prize for under 25 years old)
____at The 26th International Electroacoustic Music Competition of Bourges