iltur

“iltur” is a series of musical compositions featuring a novel method of interaction between acoustic and electronic instruments with new musical controllers called Beatbugs. Beatbug players can record live input from acoustic and MIDI instruments and respond by transforming the recorded material in real time, creating motif-and-variation call-and-response routines on the fly. A central computer receives MIDI and audio data from both acoustic and electronic instruments, it computes the improvisation algorithms, and facilitates the interaction among players. The Beatbugs use a piezo electric sensor to capture and trigger musical phrases, two bend sensor antennae for manipulation, a speaker through which the variations are played, and white and colored LEDs for conveying the interaction to players and the audience.

Video

http://www.youtube.com/watch?v=M8L-BSg1B3k

Review

“The implementation and motivation of (“iltur”) is consistent with Mr. Weinberg’s fine reputation. As an artist and scholar, he seems fittingly concerned with issues of accessibility and the transmission of ideas.”

Computer Music Journal, Vol. 30 Winter 2006, Title: NIME 2005 Concert Review, Authors: Jamie   Allen, Margaret Schedel, and John P. Young

“One of the more well-known musical controllers is the Beatbug, which works best in packs, as Israeli-born Gil Weinberg demonstrated in a new system called ‘iltur’.”

Sound On Sound Magazine, January 2006, Title: “Tomorrow’s Musician and What They Will be playing”  Author: Paul Lerman

“(A) particularly memorable work was … Gil Weinberg’s iltur 1, which was fundamentally a demonstration of an interesting collaborative technique…”

Computer Music Journal, Vol. 29 Summer 2005, Title: ICMC 2004 concert review, Author: Dan Hosken

Keywords:

Faculty

Publications

2008

  • Weinberg, G. (2008)  “The Beatbug – Evolution of a Musical Controller”, Digital Creativity, Taylor and Francis Press.

2005

  • Weinberg G., Driscoll S. "Iltur – Connecting Novices and Experts Through Collaborative Improvisation” Proceedings of Conference on New Interfaces for Musical Expression (NIME 2005), Vancouver, Canada, pp. 17-22.

Press