CompletedHallWalls – Vidala & Landó 2.0
Overview Vidala & Landó 2.0 are live electronic compositions done with interactive devices.For Hallwalls, these two pieces underwent a minor review in the performance process. The devices used…
Cello · Live Processing · Electronic Transformation
An étude for cello and live effects that separates instrumental sound from its source, transforms it in real time, and invites the listener to encounter its changing identity from new perspectives.
2026 · 12th Barcelona Modern International Composition Course, Barcelona
Project Overview
The transformation of sound becomes a central part of the listening process: not as a loss of identity, but as the possibility of revealing new forms of sonic presence.
An étude for cello and live effects that explores the separation, transformation, and renewed perception of instrumental sound.
Performance
Schizophonia nº1a functions as an étude in continuity with previous pieces for solo instrument and live sound processing. In those works, the sound processes were controlled through MIDI devices developed specifically for each piece, such as the GEP Pedal and the GEP Jack.
In this work, the intention is to transfer that work with interactive devices by using Ableton Live 12 as a sound processor. Some LFOs are incorporated to generate a minimal degree of randomness in the sound processing. The future goal is to develop generative patches in Pure Data that can serve as an audio transformation engine instead.
The piece begins from the term schizophonia, proposed by Murray Schafer and understood as the dissociation between a sound source and its sound. From there, the work also brings into dialogue Pierre Schaeffer’s idea of the sound object and Pauline Oliveros’s practice of Deep Listening.
These references allow sound to be considered not only as the result of an instrumental source, but also as material that can be separated, transformed, and listened to again from another perspective.
The composition seeks to tune the ears to perceive variations of the “original” sound and discover the subtleties that can emerge through live processing. These subtleties constantly vary through small differences in execution and interpretation, even when all parameters are defined with the same precision as the notes written for the cello.
The transformation of sound becomes a central part of the listening process: not as a loss of identity, but as the possibility of revealing new forms of sonic presence.
“If you think that your ‘true identity’ is what you are at this moment, I am sorry to say that you are mistaken. Human beings have the capacity to change. What you are at this moment is only the starting point of a much more splendid identity that you will build over time.”
Dr. Daisaku Ikeda
Interactive Score
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