A New (Multimedia) Dimension to Live Performance
by Craig Harms

When we look for ways to increase concert attendance for our school band programs, sometimes it helps to think "outside the box." If you are looking for new performance ideas, you might consider "presenting" music in every dimension possible. Entertainment promoters and performers are continually conjuring up new ways to entice the public to come out from their home theaters, with their surround sound and high definition television, and into the community theaters and concert halls. Modern audiences have come to enjoy (and perhaps expect) the experience of a multimedia production linked to live performance.
     We all agree on the importance of music for musicÕs sake. Yet on the other hand…we do live in an information age with levels of expectation never experienced by previous generations. For some audience members, it might not be enough to simply "play" or "sing" music. It might be equally important that in order to maintain the interest of everyone in attendance, we "present" music in every dimension possible.
     Several years ago, as part of the Woodland Park (Colorado) Community Band Christmas Concert, I decided to "author" a series of "video enhancements." With the aid of one of the multimedia editing programs available, I created a series of video productions set to many of the selections performed by the band. Presented at a "live" public performance, each video production was meant to visually reinforce thematic, emotional, and/or historical aspects of the selected music. It was a great success!
     An added benefit to school groups is that a multimedia approach as described above can be created as an interdepartmental affair. The development of a multimedia project could involve many other departments of the school (art, language, history, computer and computer graphics). Imagine the thrill and pride students in the school would feel when given the opportunity to create a music video for a "live" performance by their peers. It is important, however, that music remain the foundation to the presentation. In reverse to movie soundtracks, music controls each video enhancement.
     So . . . how to begin?

THE PROCESS:

• Study emotional and thematic aspects of each piece.
• Insert a recording of the piece on one audio track of the document.
• Begin building a video representation of the music. Much of the data used can be a combination of scanned and approved downloaded pictures and graphics.
• All events (transitions) are "triggered" by musical and emotion content of each piece; however, transitions of all events must be produced in a way that should allow some interpretive flexibility (i.e. cross fades as opposed to abrupt entrances).

THE FINAL PRESENTATION:

• It is suggested that during a concert, the video be projected on to a large screen positioned behind or beside the performing ensemble.
• Rear projection is recommended.
• 1000 lumen (or brighter) video projector is suggested.
• Music stand lights provide an optimum level of impact.
• To insure proper "synch to video"…"count off numbers" should appear (1–8) in tempo prior to the beginning of the video presentation.

     We all realize how much music impacts the lives of students. In this information and video age perhaps we should also be cognizant of the importance of exploring every tool available to provide optimum musical experiences for both performer and audience.
     As for my community band…we just keep increasing concert attendance and membership. Recently the band presented a Tribute Concert to 9/11 and Hayman Forest Fire Tragedies. Virtually every composition performed by the band was coupled with video enhancements and "narrative reflections" presented via video and in person of people involved personally with each episode.
     I truly believe that the "multi dimensional" format of the concert not only inspired the band to perform its best, but also helped prove that "music truly heals the pain and helps us move to the other side."

Mr. Harms has a BME and MME from Wichita State University and taught instrumental music in Kansas; Colorado; and London, England (through the Fulbright Teacher Exchange Program) before leaving public school teaching to develop his own Music Technology Consulting Dealership—Creative Consultation Service. Mr. Harms has conducted numerous seminars to public educators on music technology throughout the United States and abroad.

Copyright © 2003 Neil A. Kjos Music Company. All rights reserved.