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This work was written in Ableton using generative processes and MIDI
devices to control virtual synthesizers. The performers should be chosen somewhat at random and are meant to improvise and explore the Ableton session. The aim of this project is to encourage music making and sound design by presenting an accessible and unpressured interactive experience.
The virtual instruments in Ableton are all connected to a orresponding
MIDI controller, which is designed to play notes or adjust parameters in the instrument, such as LFO Frequency, filter cutoff, or location of the sound, to name a few. The parameters are not given specific names on the MIDI devices that refer to the exact parameter of the instrument or Ableton project, but instead given fun, provocative names, to encourage manipulation without bogging down the performer with complicated terminology. The project is designed so that one cannot play a wrong note (or even think about notes, as I am not using keyboard controllers at the moment), over adjust various sound parameters, or worry about how their adjustments relate specifically to the instrument.
As the performers play, the project moves through several Ableton
Scenes, which trigger certain events in the instruments, such as pitch
shifting, as well as clips that the performers aren’t playing, and at one
point the one of the MIDI devices changes instruments. This is all in an effort to make the project feel like it has shape, form, and an endpoint. It also might give the piece a higher replay value; by the end of the piece, the performers will have just learned how their manipulation of their controller affects the sound and will want to go again.

Joshua Weitz is a composer, sound engineer, guitarist, and percussionist.
His music is influenced by and integrates elements of a wide variety of
genres, such as metal, punk, pop, jazz, avant-garde, and theater, and
integrates electronic and theatrical elements to create musical or
multidisciplinary experiences.
Josh is interested in human conditions and emotional experiences and seeks to express them, either as musical narratives, or as a part of a greater work of art. Josh also enjoys interactive, accessible works that audience members can feel a part of.
He has written for various ensembles, such as string quartet, electronic and electroacoustic music, Pierrot ensemble, jazz combo, big band, and wind ensemble. His most recent large work, Soft Rain of Sticky Notes, is an experimental musical theater song cycle about ADHD for chamber ensemble. Joshua earned a Master of Music in composition in 2022 at the University of North Carolina Greensboro, where he studied with Alejan- dro Rutty and Mark Engebretson. Joshua earned his Bachelor of Music in Theory and Composition in 2019 from Florida State University, where he studied with Clifton Callender, Ladislov Kubik, and Stephen Montague.

credits

from New Music Festival 02022 Documentation: Audience Participation, released January 8, 2023
Composed by Joshua Weitz

soundcloud.com/user-141249326

Introduced by JP Lempke & Joshua Weitz
Performed by two audience members
Recorded by the administrative assistant on October 16 @ First Christian Church, at the second of three EDME New Music Festival shows in Eugene, Oregon, USA
Richard Fenton did a bit of mastering or something

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The Museum of Viral Memory Eugene, Oregon

A lifetime in noise & experimental stitched to the last 100 years of electroacoustic, ecoacoustic, concrete magique

Improv jazz come unpinned from time

Conceptual music built from field recordings

Sound art for dreaming, drifting, disappearing

Ritual magick, slow to cast; slow to coalesce

Invocations unintended for human ears

Music in geologic time

Aureality for the non-conscious mind ... more

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