Performance Practice
of Electroacoustic Music

Time & Money was commissioned by GRM (Groupe de Recherche Musicale) and premiered at the Maison de Radio France on 24 April 2004 by percussionist Jean Geoffroy, to whom the piece is dedicated. The version with video, which is the focus of this article, was then commissioned by éOle (Collectif de Musique Active) in 2005.

Time is a recurring topic in contemporary music, discussed for example by composers such as Karlheinz Stockhausen, Bernd Alois Zimmermann and Gérard Grisey. However, according to Sławek Wieczorek, Pierre Jodlowski’s approach introduces a different perspective. “[It] goes beyond the sphere of pure music theory and is rooted in the everyday experience of contemporary man and the world of social and economic relations that surround us”. Wieczorek refers to Pink Floyd’s album The Dark Side of The Moon as an example of the relevance of topics such as time and money in other music genres, which, as in the case of money, are missing from avant-garde music discourses.  (Workshop #5, 6:20 – 7:09) Jodlowski’s intention with pieces such as People / Time (2003) and Time & Money was precisely to bridge the “disconnection between the contemporary music network and society, the real world” (Workshop #5, 9:49) and to redefine his own role as a composer in the sense of an artist who deals with questions common to everyone. (Workshop #5, 14:56) This is reflected by the selection of body gestures, video images, references to popular music, samples from mass media and soundtracks of well-known films. They bring contemporary music closer to the realm of everyday culture and experience.

People / Time and Time & Money share some similarities: the overall form is divided into episodes, the titles of which define a narrative path. In People / Time they are projected onto the screen, in Time & Money they are only visible in the score. Audio examples and video images, e.g. voices, clocks, coins, numbers and faces convey further semantic associations. The drums act as a bridge between contemporary and popular musical language.

A peculiar feature of Time & Money is the integration of a custom-designed desk as a musical instrument on which composed and precisely notated gestures are performed.

The desk is placed on the left-hand side of the stage, a drum set is placed on the right. The setup represents two separate but complementary worlds. The first creates a situation resembling practices known as instrumental theatre or théâtre musical, the second is located in the realm of instrumental music. Intimate gestures performed at the desk initially mimic unconscious movements that percussionists will regularly perform in everyday life, such as tapping on objects or on their bodies. (Interview, 1:39 – 3:48). These intimate gestures serve as an entry point to a different perception of reality. (Interview, 6:58) They first develop into musical sequences, then silent gestures are introduced: the percussionist “grabs” invisible coins and “strikes” virtual percussion instruments in perfect synchronisation with self-triggered samples using a pedal. The mechanism remains invisible to the audience.

This opening section illustrates Jodlowski’s interest in the combination of fixed media with instruments and electronics:

“It seems to me that the theatrical dimension of mixed music, finds one of its most singular effects: the ambiguity of the source. This ambiguity constantly raises the question of the origin of the sound and therefore of the role of the body on stage.” (Jodlowski 2012)

When performed precisely, source bonding functions as a theatrical device that establishes a plausible causal connection between gestures and samples or between movements and video images as in the subsequent transition. What seems to be realised with complex technology is actually achieved with simple technical means and standard notation, playing upon our willingness to be deceived by illusions.

At the end of the piece the percussionist returns to the desk to carry out the following instruction:

“in tiling with the last synthetic “wave chord”, start writing with the pen on the plate; the impression of writing must be very realistic, the instrumentalist will also have to think of real words, compound sentences, with punctuation. Write at a normal speed, give the impression of being totally absorbed by this action, as if removed from any musical purpose.” (score, p. 16b, version “vidéo”)

Again, an everyday gesture is used to bring the piece back into the scenic realm. It seems to be detached from the overall narrative – an image in itself – and a dramaturgical device to prepare the ending:

“end the sentence with a period, stay still for a moment, black OUT” (score, p. 16b)

The overall form of Time & Money consists of seven parts and four audio-visual sequences used as transitions (1, 2, 4) and interplays (3). The first sequence leads to and accompanies the entry of the performer. The second bridges the change of position from the desk to the drum set. Parts two to six are performed on the drum set. Jodlowski describes the piece as a long crescendo (Interview, 7:40); all the rhythmic and timbral elements are gradually developed until they reach a climax in the sixth part. The final section, preceding the performer’s return to the desk, begins with the final video sequence, which shows an animation: a slowly rotating coin made of numbers. It is accompanied with soft pitched electronic sounds and percussion impulses on the tape that create the impression of the coin being hit, triggering its gradual disintegration as the individual numbers begin to fall. In contrast to the preceding sections, the percussion part is very quiet and basically consists of soft rebounds of the sticks and tremolos on the snare drum, which fit well with the visual imagery. This recourse to video dubbing makes clear the heterogenous character of the piece; we can hear how the composer experiments with different media, oscillating between abstraction and narrative, popular and experimental cultures, instrumental and audio-visual composition. The central performative challenge of the piece arises from this heterogeneity, namely to achieve a coherent formal unity of the elements through instrumental and gestural precision.

In Jodlowski’s work, the title of a piece will often precede the composition process and determine several parameters. The electronic material for Time & Money was developed based on recordings of watches and coins using different recording techniques. For example, coins rotating and falling onto the table were captured using two close microphones (Interview, 19:10) The sounds in the second part of the piece were recorded at a watchmaker’s studio in Toulouse. (Interview, 20:20) These sounds establish a clear connection to the previous piece People / Time.  Speech excerpts with the words “time” and “money” are taken from the films Paris, Texas by Wim Wenders and Citizen Kane by Orson Welles. (Interview, 25:30; 29:00) The soundtracks of the video sequences of Time & Money contain traces of cinematic sound design.

Upon completing Time & Money, Jodlowski became aware of the piece’s inherent theatrical potential, which opened up new performative aspects of the music. This theatrical dimension or “visual aspect of the music” is particularly present on the tape. (Interview, 9:08 – 11:00). Although Jodlowski would have the piece performed “as theatrically as possible”, and despite the precise choreographic indications in the score, he considers the theatrical dimension of Time & Money to be very open. Every performer can explore it depending on the situation: “Everyone has to find their way to really respond with this awareness of being on stage.”(Interview, 14:10).

Time & Money played an important role in Jodlowski’s artistic development. Belonging to his early output, it led the composer to realise that the interaction between instrumental music, electronics and video was to become the basis of his artistic language. The piece’s narrative and inherently political character would also prove defining for future works. (Interview, 59:15 – 59:45)

1. Performance materials

Score and parts:
Composer’s edition, 2005
Source: Pierre Jodlowski. Format: pdf

The score contains the following:
-Information concerning both versions (with and without video)
“Execution Note” with explanations about stage set up, instrumentation, notation as well as information concerning the CD version.
-Technical requirements and explanations relating to amplification, sound projection, effects, computer, midi, video, lights, amplification of the cube (desk) and percussion

2) Other

1) Max patch received from the composer
File name: _Time-Money-4.1 Title: Time & Money
Date: 2005-2017-2021
Author: Pierre Jodlowski
Source: Pierre Jodlowski
Software: Max 8
System: OSX
Remarks: Sampling rate: 48kHz

2) ICST patch
File name: _Time-Money-4.1_zhdk Title: Time & Money
Date: 2021
Author: Pierre Jodlowski, Leandro Gianini
Source: ICST
Software: Max 8, System: OSX
Remarks: Sampling rate: 48kHz
The stop function is only working for samples up to cue 43.

Updates by Leandro Gianini:
– Loop function for the rehearsals parts of cue 43
– Stop key for the tape on cue 43
– Key to switch the different intro video loops

Auctorial instructions

As mentioned above, two versions of the piece exist; a CD and a video version. They are mostly identical, but require a different technical realisation, which also entails some musical consequences. The CD version does not require a midi pedal.
The setup requires a wooden cube (desk, stage left) and a drum set (stage right). The cube will have to be custom-built for the performance. The composer provides instructions on measurements and assembly. The construction process will require some experimentation in order to achieve a wide range of timbre (s. performance report).
The drum set includes a gran cassa, a pedal bass drum, a snare drum, a hi hat, three toms, two octobans and three cymbals. The percussionist uses a variety of sticks: snare drum sticks, bass drum mallet, brushes and a pair of maracas.
Various microphone setups to amplify the cube and the drum set are specified, as well as light settings and cues.
A Max patch provides audio and video playback. Cues 1 to 41 are triggered by a Midi pedal. Cues 42, 43 and 44 are triggered manually at the FOH. The video intro is divided into five parts and is also triggered at the FOH.

Performance Report

We performed the video version of the piece. The concert took place on 28 May 2021 at ZHdK’s large concert hall (KS 3). Performers were Lucía Carro Veiga (percussion), Leandro Gianini (sound engineer) and Carlos Hidalgo (lights).

Setup

Cube (desk) construction
3 cm fir wood was used for the cube, the plates were screwed together. The sound at first was not satisfying; the high frequencies were not present enough when scratching or tapping on the surface, moreover, the plate produced some strong resonances. To address this, the upper wood plate was replaced with a thinner one measuring 1.5 cm. This proved more convincing; there were less resonances and clearer high frequencies. The cube was then varnished in black. The varnish affected the sonic characteristics especially for scratching and rubbing sounds.

Drum set
The choice of instrument will obviously influence the general sound character, oscillating between classical/orchestral, jazz or pop sound. During the rehearsals, the composer stated his preference particularly of the pedal bass drum and the snare drum. The kick should be powerful and with a clear attack. For the snare a drum with a size of 14’’ x 6.5’’and low tuning is preferable. For the toms and the other instruments, genre orientation was handled more freely.

Amplification
For stereo diffusion two Kling & Freitag Gravis 12 and two Meyersound 700-HP subwoofers were used. Six additional Kling & Freitag Gravis 12 speakers were placed around the audience and used to enhance some sections of the tape.
For the amplification of the wooden cube, two DPA 4061 were placed on each side of the surface and an AKG C411 was attached to the bottom of the top plate. The two DPA 4061 proved very useful; they provided a clear signal and could be mounted directly on the surface of the cube, almost invisible to the audience. Due to the omni pattern they sounded quite balanced over the whole spectrum also when placed very close to the source. They were, however, sensitive to feedback. Therefore, the cube should be placed far from the front P.A. The omni pattern also affected the stereo image, which is less perceivable when using cardioid microphones. The AKG C411 was used only to amplify the table’s low frequencies. Its was strongly filtered (Hi cut) and sent mostly on the subwoofers.
For the drum set, a multi-microphone setup was used:

1 Grancassa: Shure SM 57
2 Bass drum: Audix D6
3 Snare drum: Beyerdynamics TG D57 4
4 Hi Hat: Shure SM 57
5 Tom Hi: Audix D2 6
6 Tom Mid: Audix D2
7 Tom Low: Audix D4 8
8 Octoban: Audix i-5
9 OH L: AKG C414
10 OH R: AKG C414

The tuning of the drums is fundamental to obtaining a good amplified signal. Also, adapting the tuning to the properties of the space greatly facilitates the amplification process. The tunings indicated in the score’s setup description are meant as general advice and do not have to be strictly adhered to.

Sound treatment during soundcheck

Cube (desk)
The main concern in the concert venue was to obtain a maximum degree of amplification while avoiding feedbacks. This was achieved by applying some equalisation, but mostly by adapting the position of the cube in relation to the main P.A.
Notch equalisation was applied in order to reduce resonances from the wood. As the composer pointed out, the cube should not be perceived as a predominant tonal element, as the strong presence of a pitch would be tiring for listeners.
Overall, a sound balancing the accents and the soft scratching sounds was aimed for, putting, however, extra emphasis on the low end, thus generating a rumbling effect particularly at the beginning of the piece.
The DPA 4061 was used mainly for picking up the cube’s sound, the AKG C 411 for the rumbling effect. The balance between the two microphones was adapted according to the desired effect in the different parts.
Due to the rather studio-like acoustics of the rehearsing space, some reverb was added to the cube sound. This was not necessary in the concert venue, in fact, it was preferable not to use any reverb at all.

Drum set
The number of microphones used for the amplification varies greatly between the different parts of the piece, ranging from one microphone for the bass drum and two overhead microphones up to a complete microphone setup with one microphone for each instrument.
The pedal bass drum plays a key role in the amplification setup. To the composer, the amplification of this instrument will immediately suggest a pop/rock context. (Interview, 36:20)
The technical documentation instructs to apply compression to enhance the feel of amplification. The playing is so dynamic that it is not advisable to use gates, however, expanders might be applied to reduce leakage from other instruments.

Reverb
For the most part, two reverb types were used; firstly, room type reverb (Softube RC24) for the set which was applied on almost all microphones, secondly, hall taype reverb (Softube RC48) for the snare and the overheads. This was changed to a cathedral type reverb (Cathedral – Fabfilter Pro-R) for the last section.

Panning
Working with strongly amplified sources entails a conflict between the visually perceived position and the audio position. Panning between two loudspeakers might not suffice to overcome this, as the intended positions will be only clearly perceived by listeners sitting in the sweet spot area. Particularly in big halls where the distance between the speakers is critical, the audience will mainly perceive the sound as coming from the closest speaker. In such cases it might be adivisable to use more than two speakers, e.g. adding a centre speaker or an array of speakers.

Live sound projection
As Jodlowski pointed out, it is important to follow the feel of the musician’s playing; if the playing grows in intensity, the tape should follow. For some parts, increasing the volume requires being very conscious of the starting levels.
It would be difficult to describe in detail all the different actions performed at the FOH, as they were to a great extent determined by the performance itself and by the venue. To obtain a general idea of what was done in this performance, the score with annotations for the amplification can be consulted here.

Spatialisation
The composer’s own approach to spatialisation is quite open, especially when he is performing the electronics himself. (Interview, 48:35) For this piece, which is quite frontal, the spatialisation moments are reserved to sections with only tape and video.
Parts with spatialisation:
-Intro: slight crescendo in loop part 4
-Film 3: strong crescendo until numbers collapse (cue in sync with the lights)
-Film 4: slightly open the space sending the tape and the strong reverb of the snare drum to the surround speakers.

Monitoring
For the drum set a monitor was placed close to the player. During rehearsals an in-ear monitoring solution was also tested, but this proved less flexible for the player.

Lights
For the cube (desk) two profilers were used that were set to project only onto the cube’s surface and the player. The space for performer’s gestures has to be adapted to the lighted area. For the drum set and the transition section generic spotlights were used. To allow more flexibility for fade-in and -out, three lighting atmospheres were defined that could be controlled with faders (instead of recalling pre-recorded cues).

Lighting atmospheres:

Synchronisation
The time structure of the tape is indicated in the score using rhythmical notation, time stamps, synchronisation marks and durations in seconds. Synchronisation between the player and the samples in the first section is achieved by use of a Midi pedal. In the sections for drum set, synchronisation also requires memorising the tape part. In the CD version the first part is also fixed, and the player has to follow the tape timing.

Rehearsals
For this performance it was possible to install a complete setup in a rehearsing space so that the percussionist could practice with the complete working setup early on. This proved also useful for the sound projection, as many different aspect of the performance and settings could be explored. Naturally, translating these to the actual concert space required substantial changes. The recorded material of the rehearsals could be used to perform a virtual soundcheck before the soundcheck with the “actual” percussionist. Finally, the possibility of looping the different sections of the second part (cue 43) was added to the patch in order to facilitate the rehearsal process.

Jodlowski, Pierre (2021): Interview. Conducted by Germán Toro Pérez, 19 May 2021

Jodlowski, Pierre (2012): Reflexion about music with electronics, online: http://www.pierrejodlowski.com/index.php?post/Reflexion-about-music-with-electronics (last accessed 20 November 2024)

Wieczorek, Sławomir (2021): Talk. Held at ZHdK, 27 May 2021

Workshop #5, 28 May 2021, Video