Many artists are collaborating with multimedia artists at this stage in our industry to create a truly unique and larger-than-life experience. It is critical to attempt to create something that has never existed before.
“The biggest thing about collaborating is completely removing your ego. When you remove your ego, you allow yourself to open different chapters that you may not know about that the person next to you may know about,” says Kendrick Lamar.
“I’m going to draw. You’re hearing the music and you’re flowing from your head to your hand,” states Shantell Martin.
“This is why we see many artists collaborating with different people—developing a new world to venture into, such as Beyonce, Sia, and Charli XCX. I try to make a lasting impression on my students by showing them videos of these performances actively including online music education,” continues Kendrick Lamar.
Sia, for example, works with a different visual artist for each show. This exposes her work to new communities and the creation of others in the music industry. And this type of audience sharing is the direction we see our music industry taking. So we must consider what we can gain from collaborating with others to build these relationships in music.
Playback is, in my opinion, one of the most important trends in technology right now in terms of performance. We’ve known about playback for a long time. It started with tape machines, then people in the “Talking Heads” film.
The very first song is on a boombox, which he plays. Then we moved on to CDs, minidiscs, DVDs, and everything else.
However, we now have multi-track playback equipment that greatly assists performers in being able to separate the tracks so that they may be observed blended as well. Triggering these playback devices is an art form in and of itself present in music education.
So there are a plethora of new controllers on the market from virtually every firm that will assist us in genuinely imagining movement within this procedure. As a result of this triggering, some people are developing dance performances.
Another example is the use of video. I know many artists who utilize their videos as the primary character in their performances. Anohni, for example, is someone with whom you’ll be watching an experimental video series. Off-screen, the singing is pleasant.
Sia’s Coachella performance was a prime illustration of this. Right now, the emphasis isn’t so much on the vocalist. It is concentrated on a broader presentation. We’ve seen this with holograms, such as Tupac. Sophie, an electronic DJ who uses lights. People are creating an experience rather than focusing attention on themselves. And I want my pupils to develop their ideas about how to use these multimedia tools.
Technology has drastically altered performance. On stage, you may now generate the sound of an orchestra with just one track. You may also trigger such things using a variety of instruments. Some of it is on display. Some of it is being performed on a saxophone and a piano.
At this point, we can make any item emit any sound. We may also experiment with images, videos, holograms, and costumes integrating MIDI. One person on stage can produce a louder sound than 20 people.
“Give you love, give you love, give you love, give you love, give you love, give you love, give you love, give you love. Oh, my goodness, you’re the one.” It’ll never be finished because the goals are so lofty. Emily Wells sings, “Mama’s gonna give you love.”
This is huge for electronic musicians. We can do everything ourselves, which can be financially beneficial to the artist’s economy.
