Open AccessThe BlipVert Method
Author(s) -
William Rogers Northlich
Publication year - 2018
Publication title -
intonations
Language(s) - English
Resource type - Journals
ISSN - 2562-0479
DOI - 10.29173/inton25
Subject(s) - improvisation , electronic music , studio , composition (language) , style (visual arts) , musical , musical composition , ethos , creativity , visual arts , popular music , computer music , computer science , multimedia , art , literature , psychology , linguistics , social psychology , philosophy
The confluence of composition and performance is a compelling phenomenon which confronts many 21st century electronic music artists, brought about primarily through an independent “DiY” ethos to creativity and the ubiquity of advanced musical, and non-musical, technology. Techniques of software programming, improvisation, reconstitution of electric and acoustic instruments, sampling, and manipulation of audio in a live setting (to name a few) may all find a place in an artist’s methodology regardless of style. It may be even be said that the techniques employed by an artist delineate the style itself, e.g. “controllerism,” “turntablism,” “live PA,” etc. The following paper offers an in-depth structural analysis of the composition and performance fundamentals of BlipVert, a pseudonym under which I have been presenting electronic music to the general public for almost two decades. The BlipVert composition “New Choomish,” from BlipVert’s 2010 release “Quantumbuster Now” (Eat Concrete Records, NL), is examined as a construct which manifests an expressive faculty in both live and studio environments, consequently demonstrating a profoundly synthesized framework of sonic and gestural principles.
Keywords: composition, performance, improvisation, movement, building-blocks, Northlich, BlipVert, New Choomish