Interview with composer/computer music performer Juan Parra Cancino

Critical insights

Background

• Guitarist to Electronic Musician: Juan’s shift from guitar to electronic music illustrates the potential for musicians to innovate by integrating digital technology

• His education at the Institute of Sonology was important in mastering both analog and digital techniques, including programming languages like Lisp, to enhance sound manipulation and performance expressiveness

• Juan reconstructs early electronic systems, bridging historical and contemporary music practices

• He focuses on making digital tools as expressive as traditional instruments

Instrumental Identity and Digital Composition

• He is interested in defining a unique identity for computers in music

• Emphasizes systematization for replicable and understandable digital compositions

• Explores new uses of traditional instruments within a digital framework, encouraging deeper engagement within Timbre Networks method for performance

• There, he adapts real-time mappings and interactions, extending traditional improvisation

• Values technology’s imperfections as sources of creativity

• Reimagines historical technologies using modern tools to creatively address past constraints

• Prefers direct interaction with technology, avoiding AI and machine learning in his Timbre Networks

• Values unpredictability of live performance over AI’s data-driven methods

Creative Re-Appropriation

• Reinterprets historical works, integrating past constraints to inspire new artistic expressions

• Juan views his work as both an academic exercise and a personal creative outlet, distinguishing between rigorous study and individual artistic expression

Current Work

• Explores new interpretations of historical tape pieces from the 1950s and 60s

• His projects include deconstructing early works, like Eliane Radigue’s feedback pieces, to create new live renditions that blend elements from different phases of the composer’s career

• Juan’s approach, described as “interpretation as a time machine,” involves using modern tools to revisit and creatively reinterpret historical works. He values personal creative expression over strict historical accuracy

• Respect and Personal Expression: He emphasizes balancing respect for historical works with personal creative exploration and innovation

Digital Music Setup

• Primarily uses Max, with occasional use of Ableton Live and Super Collider

• Custom-built controllers and Korg Nano sliders

• Cross-platform operation on Linux, Windows, and Mac

• Uses iPads with Touch OSC, Gauss, and Bliss for media control and effects

• Internet-based performances use Jack Trip, Jitsi, and OBS

• Integrates Eurorack and analog test equipment

• Maintains old computers and tools for compatibility with past projects

Summary

Juan’s transition from a guitarist to an electronic musician highlights the innovative potential of integrating digital technology in music. His education at the Institute of Sonology underscored the importance of mastering both analog and digital techniques, which enhanced his ability to manipulate sound for more expressive performances. Juan’s work involves reconstructing early electronic systems, bridging historical and contemporary music practices to inspire new creative directions. He focuses on making digital tools as expressive as traditional instruments, collaborating with composers and performers to design specific constraints and characteristics for dynamic live performances.

Juan emphasizes the importance of defining a unique musical identity for computers, moving from emulating traditional instruments to exploring the unique potentials of digital tools. This approach allows him to create new performance practices that blend personal creative exploration with historical reverence. His work in Timbre Networks method explores new ways of using traditional instruments within a digital framework, encouraging performers to manipulate their instruments to influence both sound and computer-based systems. This creates a network of interactions that deepens their engagement with their instrument’s potential.

In his performances, Juan values the imperfections of technology as sources of creativity, contrasting with the ideal of seamless technology. He reimagines historical technologies using modern tools to creatively address past constraints, while maintaining a cautious approach to AI and machine learning, preferring the unpredictability of live performance. His reinterpretation of historical works, such as Maderna’s “Hyperion” and Stockhausen’s “Solo,” leverages past constraints to inspire new artistic expressions, emphasizing the visible role of technology in the creative process.

Juan’s digital music setup primarily involves Max software, with occasional use of Ableton Live and Super Collider. He uses custom-built controllers, Korg Nano sliders, iPads with Touch OSC, and apps like Gauss and Bliss for media control and effects. His internet-based performances utilize Jack Trip, Jitsi, and OBS for streaming. Integrating Eurorack and analog test equipment, Juan maintains old computers and tools to ensure compatibility with past projects, blending historical reverence with creative innovation in his versatile musical practice

References

Juan Parra Cancino https://orpheusinstituut.be/en/orpheus-research-centre/researchers/juan-parra-cancino

Three State of Wax with Jonathan Impett https://www.researchcatalogue.net/view/726600/726601

On re-construction of Bruno Maderna’s Hyperion: https://www.researchcatalogue.net/view/259946/259947

Article on Timbre Networks in echo journal: https://echo.orpheusinstituut.be/article/on-timbre-networks