The BlipVert Method

Consonance at the Intersection of Composition and Performance

Authors

  • William Northlich University of Alberta

DOI:

https://doi.org/10.29173/inton25

Keywords:

composition, performance, improvisation, Northlich, BlipVert, New Choomish, movement

Abstract

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

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Published

2018-09-25

How to Cite

Northlich, William. 2018. “The BlipVert Method: Consonance at the Intersection of Composition and Performance”. Intonations 1 (1):1-11. https://doi.org/10.29173/inton25.

Issue

Intonations Volume 1 Issue 1

Section

Music

License

Copyright (c) 2018 William Northlich

Creative Commons License

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Intonations is an open access journal and employs a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (CC BY-NC-ND 4.0). Items published in this journal may be used in their original form (in whole or in part) for non-commercial purposes, as long as they are properly cited, including author, journal name, and publication date. Contributors/Creators may, however, choose to have their work distributed under any of the Creative Commons licenses currently available by specifying their preferred licence in the publication agreement. The applicable Creative Commons license icon will appear on the title page of each published submission. A description of the Creative Commons licences is available here: https://creativecommons.org/licenses/. Authors retain their copyright, including the right to subsequently publish or disseminate their work elsewhere, provided that they make reasonable efforts to ensure that the publication in Intonations is acknowledged.