Alexander Schubert

SILENT POSTS

any instrument / combination of instruments

for everybody

2016

version
January 11, 2017 11:03 AM
 SILENT POSTS
In “Silent Posts” there is a set of source pieces which serve as a starting point for the musi- Example Piece
cian to interpret and to make a new version of.
The piece can be played by a single musician or any number of players. Video Field Recoding Written Music Spoken

The musician(s) can both choose a source piece (provided by the composer) as a starting
Text Text

point or a version the another musician did before him. It is basically a concept where the
versions evolve, as in a family tree.
A musician interprets the previous version following a set of lose guidelines which are de-
scribed below. Aside from that he can also make a few changes in the piece based on a set
of tools (which are also described below in detail.

MATERIAL MOTIVATION
Both the source pieces and the new versions can consists of There are two main motivations behind this piece.
all possible media (audio/music/text/video/performance). First I wanted to make a piece that lets the performer bring in
It may be a piece starting with a video, then consisting of his/her individual approach and personality.
recorded music, than a performance, and so on. Secondly I found the idea interesting to see how a piece can
The physical material that is handed out is a (very simple) evolve and become something completely different, that I
score, which only indicates the lengths of the sections and the have no control over. I also thought it would be interesting to
names for them. Also a video recording of the piece / version see which road a piece takes and that it may become some-
is handed out. thing totally unforeseen.
The piece can explicitly be played by any musician / group of
musicians. It’s coming from a contemporary classical back-
ground - but can also be performed by a punk band or an
experimental electronic act.

INTERPRETATION
The musician can interpret the previous version basically in
any possible way. If a section is video the musician could for
example describe the video in words, make a new video, act
the video, or mimic the sound with the instrument.
Choose a source piece
The same is true for all other media forms as well.
or a version from another musician
The only limitation is that it should not be arbitrary. It should
be perceivable that you interpret a given section.

Make changes based on the tool box

Interpret each section with your indi- Make a very simple score indicating
vidual appraoch (instrument / perfor- your changes in the piece
mance / etc)

Perform your piece and make a

video- and audio-recording

Upload both your video and score.

This will be the starting point for the
next performer
 The original source

POSSIBLE EXAMPLE OF piece is provided by

the composer

VERSION HISTORY
Source Piece A

The original piece is The original piece is

interpreted by one mu- interpreted by another
sician/ensemble “A” musician/ensemble “B”

Piece A.1 Piece A.2

The version by musician/ The version by musician/

The version by musician/
ensemble “A” is inter- ensemble “B” is inter-
ensemble “A” is inter-
preted by one musician/ preted by one musician/
preted by one musician/
ensemble “D” ensemble “E”
ensemble “C”

Piece A.1.1 Piece A.1.2 Piece A.2.1

The version by musician/ The version by musician/

ensemble “D” is inter- ensemble “D” is inter-
preted by one musician/ preted by one musician/
ensemble “F” ensemble “G”

Piece A.1.2.1 Piece A.1.2.2

VERSIONS PLACING THE PIECE IN A CONCERT

If you want to play the piece you can select one of the origi- You can perform the piece on its own.
nal pieces or a version another musician before you did. Any You can also play the previous version before (or several if you
version can serve as the starting point for you, no matter if there like).
are already other versions based on the piece you are choos- The performance should be recorded on video and then up-
ing. But you have to pick one version and only use material from loaded.
this version then (+ material you add personally).
The above tree shows how the versions may evolve.

PERFORMANCE SOURCE PIECES

The source pieces can consist of very diverse material. As the
As described above your interpretation can include all sorts of piece is based on the idea of remixing existing material the
media / expression: source pieces also already make use of art works, recordings
- playing your instruments and online material.
- talking
- performance / gesture / acting Furthermore some of the pieces may also be created in collabo-
- playing a video file ration with other artists.
- showing a photo

It is possible and allowed to also use material of the previous

version in your piece. If the piece featured a video section - you SECTIONS
may also ply this video section as well (on it’s own or accompa-
ny it) - or interpret as described below. But you are allowed to A piece consists of several sections. These can be short
use sections as a sample. (500ms) or long (one minute). They can consist of all possible
media material. They can be constant or have an inner rhthmic
If you want to use media in your interpretation you obviously structure.
will have to have a projector and loudspeakers. Also you will One section is followed by the next. The transition can be either
need to prepare the media so it can be played. An easy to use sharp or it can be cross.faded.
free-ware program for this is QLab (https://figure53.com/qlab/).
Every other way that best suits you is of course welcome too.
EXAMPLES OF EDITING:

possible example of deleting A B C D E F

A B C E F A F A C E

possible example of duplicating A B C D E F

A A B C D E F F A A B C D E F D E F

A B C B C B C D E F

possible example of time-stretch- A B C D E F

ing/shortening

A B C D E F A B C DEF A B C D E F

possible example of rearranging A B C D E F

A C D B E F F E C D B A A B D C E F

possible example of inserting

A B C D E F

A B C D E F G A B C G D E F A B C D E G F

TOOL BOX
If a musician / ensemble decides to make a new version based
on an existing version (or the original one) it will interpret the 3) Time-Stretch/Shorten
version as described above. Any section can be altered in length.
Apart from interpreting the music/sound/text/visuals the mu- 4) Rearranging
sician(s) can also make a few alterations - choosing from a Up to five sections or sets of sections can be moved from one
palette of tools described below: space in the piece to another.

1) Deleting 5) Inserting
Any number of sections can be deleted. Both a single section or Up to five elements may be inserted into the piece. The length
a set of sections. of the total duration of the new elements may not be longer than
one fourth of the resulting piece. If the new version is four min-
2) Duplicating utes long, then the total amount of new material may not exceed
Any number of sections can be repeated (once, twice or as 1 minute.
often as you like).
Both a single section or a set of sections can be repeated.
YOUR VERSION: TECH RIDER:

Personality Amplification if needed (in most cases yes).

Try to give the piece a personal note - bring yourself, your Computer if tape / video is used (in most cases yes).
approach, your personality into it. By doing it, this becomes
your piece, and it will be much more interesting for somebody If the piece has video parts, then a projector and a canvas.
else to make a new version of your piece. You can keep that in
mind - to create something, that has starting points for someone A video camera and microphones for recording.
else. This can make the process of interpretations based on
your version and so on more easy and interesting. But it is your
piece: You can just as well choose not too!

Simple Score
The above-said is true for the simple score you prepare as
well. Try to make it readable and understandable - it makes it
easier and more appealing for someone else to reinterpret your
version! I would suggest these guide lines:
–– Make it graphic in some way so that people can grasp what
you have done
–– Divide it into clear sections and sub-sections, or cues, or
movements or chapters. In any case: Make the organiza-
tion, the formal structure as clear as possible for the reader.
–– Use names / IDs for the individual sections.
–– Indicate how long the section in the piece are, so that the
reader can get an idea of the durations and time structure
–– Indicate the running time for the different parts in the piece.
–– Optional but good style: Indicate the original sections used
from the source piece or the version you started from. E.g.
if you use section C of the source piece in your piece you
can also call this section C, or C1 or how ever you like. This
is not mandatory - but it can be interesting in order to track
down the way the material has been used and evolved over
time.