Views
2 weeks ago

Volume 26 Issue 2 - October 2020

  • Text
  • Classical
  • Artists
  • Choral
  • Concerts
  • Performances
  • Choir
  • Jazz
  • Musical
  • Toronto
  • October
Following the Goldberg trail from Gould to Lang Lang; Measha Brueggergosman and Edwin Huizinga on face to face collaboration in strange times; diggings into dance as FFDN keeps live alive; "Classical unicorn?" - Luke Welch reflects on life as a Black classical pianist; Debashis Sinha's adventures in sound art; choral lessons from Skagit Valley; and the 21st annual WholeNote Blue Pages (part 1 of 3) in print and online. Here now. And, yes, still in print, with distribution starting Thursday October 1.

IN WITH THE NEW

IN WITH THE NEW ADVENTURES IN SOUND ART Machine Language and Livestreams WENDALYN BARTLEY SHIGEO GOMI ANDREAS LAMMERS It was quite a pleasant surprise this month, after months of inactivity when I received the October listings to see that there is a variety of different performances coming up in October. If you are a fan of new and experimental music, you will once again be able to Debashis Sinha indulge in listening to what’s currently going on, even though these events will be limited to livestream. One of the upcoming concerts that caught my eye was a performance by Debashis Sinha, a sound-based artist comfortable working in a variety of media. He combines his experiences as a South Asian Canadian who trains with master drummers from various world music traditions with a love of electroacoustic music and technology. His work, Adeva (version000_01), will be performed via livestream on October 24 in an event produced by New Adventures in Sound Art and Charles Street Video. I began my conversation with Sinha by inquiring into how his South Asian Canadian identity has impacted his creative work. Growing up in Winnipeg within the context of a very small Indian community that itself was a mixture of different Indian cultures meant that they all shared a hodgepodge of cultural expressions. “For me growing up, everything was all mixed up together. This has fuelled a lot of the work and the exploration that I do with mythology and storytelling by imagining aspects of my culture, its deities and trying to fill in the blanks.” He has created a number of works incorporating Hindu mythology in a variety of genres including fixed media, sound installations and art videos. One of his pieces, Kailash, is about Shiva. For this piece, he imagined the summit of Mount Kailash where Shiva dwells and no human is permitted to climb because of it being a holy site. Instead, people circumnavigate the base of the mountain as a kind of pilgrimage. The music he wrote for this piece is his own imaginative version of the sound world on the summit with Shiva sitting in meditation and watching people walking down below. Since one of the manifestations of Shiva is as Nataraja, the dancer who dances the creation so it may continue, he was able to weave in environmental threads as well as rhythms connected to Nataraja’s movements, human footsteps and the cyclical nature of ritual practice. At this point in his career, he says, he is in the midst of a shift by looking to the future; his October performance will mark a step in this direction. The new work is part of a sound cycle he’s currently working on that involves research into machine learning and artificial intelligence tools for sound. He started the process last winter in Tokyo at the Mutek Japan AI Music Lab where he was fortunate to be the only Canadian present. “We looked at a number of different ways in which neural networks (a form of machine learning that attempts to resemble the human brain) can process sound and musical data, such as MIDI notes, text and visuals.” 16 | October 2020 thewholenote.com

Different planes: Sinha explained that working with machinelearning tools is a very new field in artistic practice with many unknowns, not least of which is not being able to predict what will happen when you work with them. His previous interest in story and mythology also comes into play in this new work. The more he learned about these machine-learning tools, the more he realized that the process parallels discoveries he had already made about deities such as Shiva or Ganesh. “Since they are on such a different plane from humans, how can we possibly understand how they think?” he asks. “If a consciousness operates on eight dimensions, like a deity of some kind, how can we as humans, who operate in either three or four dimensions, understand those thought processes? When we’re confronted with the way these entities think we have to collapse them in a way that makes sense to us. When you collapse something that complicated into something very simple, you lose information or information gets garbled. It lies at the periphery of our abilities.” Exploring this space or gap between human and “deity intelligence” forms the basis of Sinha’s investigation in this new work. To understand this more fully, I asked Sinha to explain how machine learning tools actually work, particularly when applied to music. He gave an example of a particular tool that only understands music as if it were a Bach fugue. “If you give it a series of notes, it will spit out an answer to you that is mirrored in its understanding of the world, which is a Bach fugue.” The result will be different from the original melody that was put into the system and may or may not be useful. “These processes are not a magic button,” he emphasizes. The creator still needs to sift through the results and use what is interesting. One of his key interests in using these tools is that since they give results he wouldn’t have come up with on his own, they cause him to question his musical habits. After all, if he were to reject the results he receives, why bother using them in the first place? “I can’t just dismiss them outright, aesthetically,” he said. “I have to question myself, on many levels, including dramaturgically and conceptually. Sometimes I have to give in, and when I do a new story emerges, a story I wouldn’t have possibly come up with.” Another aspect of his research is to explore the shortcomings of these algorithms and the built-in assumptions they have about the world. He gave the example of a “SometimesI have to give in, and when I do a new story emerges, a story I wouldn’t have possibly come up with.” The Rigveda, the oldest known Vedic text is an ancient Indian collection of Sanskrit hymns: the first of four sacred canonical texts of Hinduism known as the Vedas. recent face recognition algorithm that Twitter released that does not recognize black faces, even though it sees white faces very well. “This brings up all sorts of questions about who is building those tools and the questions they are asking as they build them.” Rules-based: His new piece will incorporate text drawn from the Rigveda, the first of the four Vedic texts. Since the Rigveda is very rules-based, Sinha has translated this characteristic into a process whereby he is creating a lot of rules for himself in the ways he engages with the tools. The resultant texts will be combined with rhythmic material and other audio created from the machine learning processes, as well as field recordings he has collected in India. The piece will be semi-improvisational, as he is not interested in replicable live performances, and will be created from the large pool of materials he will have on hand. Visually we will see a combination of him interacting with his tools along with digitally generated visuals and images from field recordings he has made in Kolkata, India. He’s also building text cards to use so we will know the words that are being used in the resultant “sea of 20/21 Extraordinary Music for Extraordinary Times FREE Online Broadcasts from Koerner Hall newmusicconcerts.com 416 961 9594 Anima – 10.18.20 feat. Sanya Eng, harp and Ryan Scott, percussion Cello Masterworks – 10.29.20 feat. David Hetherington, cello Love Songs co-presented with Tapestry Opera – 11.28.20 feat. Wallace Halladay, saxophone and Xin Wang, soprano NMC 50th Anniversary Commissioning Series – 12.06.20 feat. new works by: Kotoka Suzuki, Eliot Britton, and James O’Callaghan thewholenote.com October 2020 | 17

Volume 26 (2020- )

Volume 26 Issue 1 - September 2020
Volume 26 Issue 2 - October 2020

Volumes 21-25 (2015-2020)

Volume 25 Issue 9 - July / August 2020
Volume 25 Issue 8 - May / June 2020
Volume 25 Issue 7 - April 2020
Volume 25 Issue 6 - March 2020
Volume 25 Issue 5 - February 2020
Volume 25 Issue 4 - December 2019 / January 2020
Volume 25 Issue 3 - November 2019
Volume 25 Issue 2 - October 2019
Volume 25 Issue 1 - September 2019
Volume 24 Issue 8 - May 2019
Volume 24 Issue 7 - April 2019
Volume 24 Issue 6 - March 2019
Volume 24 Issue 5 - February 2019
Volume 24 Issue 4 - December 2018 / January 2019
Volume 24 Issue 3 - November 2018
Volume 24 Issue 2 - October 2018
Volume 24 Issue 1 - September 2018
Volume 23 Issue 9 - June / July / August 2018
Volume 23 Issue 8 - May 2018
Volume 23 Issue 7 - April 2018
Volume 23 Issue 6 - March 2018
Volume 23 Issue 4 - December 2017 / January 2018
Volume 23 Issue 3 - November 2017
Volume 23 Issue 2 - October 2017
Volume 23 Issue 1 - September 2017
Volume 22 Issue 9 - Summer 2017
Volume 22 Issue 8 - May 2017
Volume 22 Issue 7 - April 2017
Volume 22 Issue 6 - March 2017
Volume 22 Issue 5 - February 2017
Volume 22 Issue 4 - December 2016/January 2017
Volume 22 Issue 2 - October 2016
Volume 22 Issue 1 - September 2016
Volume 21 Issue 9 - Summer 2016
Volume 21 Issue 8 - May 2016
Volume 21 Issue 6 - March 2016
Volume 21 Issue 5 - February 2016
Volume 21 Issue 4 - December 2015/January 2016
Volume 21 Issue 3 - November 2015
Volume 21 Issue 2 - October 2015
Volume 21 Issue 1 - September 2015

Volumes 16-20 (2010-2015)

Volumes 11-15 (2004-2010)

Volumes 6 - 10 (2000 - 2006)

Volumes 1-5 (1994-2000)