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WHEELIES (Chris Brown, 1992) uses MIDI system-real-time messages that one player generates to play with the variability of rhythmic synchronizations of the group. It also sets up a system of interaction in which members of the group change the rhythmic performance of each other’s systems during the piece. Each player has programmed their system to count Timing Clocks, and respond appropriately to Start, Stop, and Continue messages. They are prepared to play repeating cycles of samples, or percussive voices, as controlled by three parameters called Ictus, Meter, and Density. Ictus sets the number of timing clocks in a beat, Meter sets the number of beats in a cycle, and Density controls a percentage of the beats that will be silent. When a Start message is received (and all players receive them at the same time) every player sends out a package of values for these three parameters to any other player(s) in the network. That player MUST implement this parameter data in playing the new sections. The result is that the group plays a synchronized pulse-oriented music that is often in many meters, and subdivisions of the group pulse, at once. And each player can strategically affect the music of any other player, while giving up control of the same part of their own music to the group. My intention here has been both musical – to accomplish rational rhythmic complexities otherwise unperformable by humans – and social; to invent a new form of group music that at once allows individuality and subordinates the individual to the primacy of the group. –CB

credits

from WRECKIN' BALL (ART 1008, 1994), released February 3, 1994
Recorded in Berlin 5/27/93
Composer: Chris Brown

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Artifact Recordings San Francisco, California

ARTIFACT RECORDINGS is a project of Ubu, Incorporated, an artist-run, non-profit organization supporting experimental and electronic music based in the San Francisco Bay Area. Our download and compact disk series is dedicated to representing a living experimental music tradition that continues to thrive in the cracks between the commercial, academic and classical music establishments. ... more

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