Universitat Pompeu Fabra

Institut Universitari de l’Audiovisual -Barcelona-

FINAL PROJECT

MASTER IN DIGITAL ARTS 1998/1999 (EMMA)

" 3D MUSIC TETRAHEDRON"BY PIERRE LEVY

3D NAVIGATABLE WORLD FOR THE MUSIC BY JASON WHITTLE

TUTOR SERGi JORDA

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Presented on friday, 13th of september 1999.


PREFACE

I am a musician, saxophonist and composer, and until the Master, I had never used computers or electronic devices to make music, or anything else. That's why I decided that if I don’t want to keep being a "fossile- musician" (and man in a general sense and in comparison to most people today), I had to study these technologies that give a lot of new possibilities to music creation, composition, and production. Actually, I was not attracted by computers and electronic technology at all; and I thought that I didn't need them in my private life as well as in my professionnal one. In addition to that I never had a television at home, so I was not used to screens; as well as for keyboards: during the first 20 years of my life they were the only property of typewriting secretaries. But I realised that if you don't know the new technologies, you can be really disconnected from your time, and by transitivity, from the people of your time. This is for the general use of computers. As an insrumentist, I don't really need a computer, and even less electronic devices. Saxophone is difficult enough to keep me busy with practicing for the rest of my life. But I am also a composer and finally I understood that in that field you can't work today if you only write traditional scores, played by an orchestra. Today many producers don't want to spend their money on a studio recording, and on expensive instrumentists, when they know that one person can be the composer, the arranger,the orchestra, the sound engineer, the studio (even the nice blond girl that brings the coffee...) and will give them a product they will be able to use for their movie, advert, theater play and so on.

I also understood that modern equipment can also provide many new sounds and possibilities, and, because of its logic, let the composer write with another approach, another eye, so another kind of music.