Transcript: Kristi Allik and Robert Mulder | Oct 02, 1992

Classical piano music plays.
John and two guests sit at a round wooden table in a TV studio decorated as a library. They each have a cup on the table.
The TVO Daytime logo appears on screen next to the title "Teaching Music."
John is in his late fifties, clean-shaven, with receding white hair. He's wearing glasses, a gray suit, striped white shirt, and a checkered green tie.

A caption reads "Kristi Allik and Robert Mulder." Then, it changes to "John Miller."

John says HELLO,
I'M JOHN MILLER,
AND WELCOME TO THIS
SPECIAL PROGRAM
IN THE SERIES
TEACHING MUSIC.
IF YOU'VE BEEN
WATCHING OUR SERIES,
YOU'LL KNOW THAT GUESTS,
EXPERTS IN MANY FIELDS
FROM AROUND THE WORLD,
HAVE BEEN COMING TO TORONTO
IN 1992 TO HONOUR
THE 60TH ANNIVERSARY
OF THE BIRTH OF GLENN
GOULD, OUR GREAT CANADIAN
PIANIST AND VISIONARY.
TODAY, I'D LIKE TO
INTRODUCE YOU TO TWO
OF THE MOST INTERESTING
GUESTS WHO HAVE BEEN HERE.
AND THEY ARE
CANADIANS; IN FACT,
THEY'RE FROM
KINGSTON, ONTARIO.
I'D LIKE YOU TO MEET
KRISTI ALLIK, A COMPOSER,
AND ROBERT MULDER,
A VISUAL ARTIST.

Kristi is in her thirties, with short curly blond hair and bangs. She's wearing a magenta blouse.
Robert is in his forties, with short wavy salt-and-pepper hair and a full beard. He's wearing a purple shirt.

John continues BUT AS WE TALKED JUST
BEFORE CAMERA TIME,
I FOUND OUT THAT
THEY REALLY THINK
OF THEMSELVES AS
INTEGRATED MEDIA ARTISTS.
LET ME ASK YOU
FIRST, ROBERT,
WHAT'S AN INTEGRATED
MEDIA ARTIST?

The caption changes to "Robert Mulder. Kingston."

Robert says IT'S AN ARTIST
WHO FEELS THE TRADITIONAL
DISCIPLINES, WHICH WOULD
BE MUSIC OR VISUAL ARTS
EXCLUSIVELY, IS NOT
QUITE SUFFICIENT
TO EXPRESS THEIR
ARTISTIC VISION.
SO THEY REACH FOR
ANOTHER MEDIUM,
WHICH THEY SORT OF EMPLOY
AT THE SAME LEVEL,
SO THE TWO TOGETHER
WOULD BECOME WHOLE,
AND THE INDEPENDENCE ARE
NOT IMPORTANT ANYMORE.

John says IN FACT, THE TWO
TOGETHER ARE GREATER,
KRISTI, THAN JUST WHAT THEY
WOULD BE INDIVIDUALLY?

The caption changes to "Kristi Allik. Kingston."

Kristi says YES, I
WOULD SAY SO.
INDEED, WHAT YOU WOULD
NOT WANT TO DO IS LISTEN
TO THE COMPONENTS
SEPARATELY.
THE WHOLE IDEA IS THAT,
WHILE IN THEMSELVES
THEY ARE NOT COMPLETE, IF
YOU PUT THEM ALL TOGETHER
THEN YOU HAVE A
COMPLETE WORK OF ART.

John says NOW, I KNOW
YOU'RE ON THE FACULTY
OF QUEEN'S UNIVERSITY.
AND AT QUEEN'S, DO
THEY THINK OF YOU
AS A COMPOSER, OR AS AN
INTEGRATED ARTIST?
HOW DO YOU ACTUALLY FIT
INTO THAT STRUCTURE?

Kristi says I WOULD SAY I
WEAR MANY HATS THERE.
I AM IN THE SCHOOL OF
MUSIC, SO I DO TEACH,
OBVIOUSLY, MUSIC.
I TEACH THEORY
AND COMPOSITION.
MY SPECIALTY IS
ELECTRO-ACOUSTIC MUSIC,
AND I ALSO DO TRY TO,
AS MUCH AS POSSIBLE,
INTRODUCE VARIOUS ASPECTS
OF INTEGRATED MEDIA INTO
CERTAIN TYPES OF COURSES
OR COLLOQUIUMS THERE.

John says I HEARD ONE OF
THE GUEST SPEAKERS
AT THE CONFERENCE SAY
THAT IN HIS OPINION,
THOSE OF US WHO ARE IN
THE ARTS ARE IN DANGER
OF LOSING CONTROL OF,
REALLY, THE CREATIVITY.
BECAUSE, IN FACT,
WE'RE NOT INTO ENOUGH,
PERHAPS INTEGRATED
FACETS,
OR WE'RE NOT
INTO TECHNOLOGY.
AND THAT, INDEED,
SOUND, FOR EXAMPLE,
IS BECOMING THE DOMAIN
OF SCIENTISTS
AND TECHNICIANS,
WHILE CREATIVE PEOPLE
ARE SIMPLY LOSING
CONTROL OF THIS.
IS WHAT YOU ARE DOING A
PART OF AN ANSWER, THEN,
TO PERHAPS KEEPING
CONTROL OF CREATIVITY,
OR NOT CONTROLLING
IT, BUT MOVING IT
INTO A NEW DIMENSION?

Kristi says I FEEL PERSONALLY
THAT I AM MOVING
INTO A NEW DIMENSION
BY DOING THIS.
I SEE ONE POSSIBILITY
OF ART IN THE FUTURE
AS BEING MORE OF A
COLLABORATIVE PROCESS,
MORE OF A TEAMWORK, AS
OPPOSED TO THE DOMAIN
OF JUST ONE INDIVIDUAL.
AND IF ONE SEES ART
IN THAT PERSPECTIVE,
ONE CAN CERTAINLY SAY
THAT IS THE DIRECTION
I'M MOVING TOWARDS WITHIN
MY OWN CREATIVE OUTPUT.

John says AND, ROBERT, WHEN
YOU WORK TOGETHER
ON A PROJECT, YOU DON'T REALLY
HAVE DEFINED BOUNDARIES
THAT SAY, IF IT'S
VISUAL, YOU WORK ON IT,
IF IT'S MUSICAL,
KRISTI WORKS ON IT.

Kristi says THAT'S RIGHT.

John says DESCRIBE THE PROCESS
OF YOUR COLLABORATIONS.

Robert says THE KEY OPERATING
PART IS THE COMPUTER SYSTEMS.
BY WORKING ON A COMPUTER,
YOU AUTOMATICALLY
HAVE ALMOST IMMEDIATE ACCESS
TO THESE DIFFERENT THINGS.
AS A VISUAL ARTIST, YOU
HAVE IMMEDIATE ACCESS
TO THE MUSIC.
SO IT'S ALMOST
INEVITABLE THAT THERE'S
AN INTEGRATION
GOING ON THERE.
SO WHAT HAPPENS IS AS
I WORK WITH KRISTI,
I PICK THINGS UP
WHICH IS STRICTLY
IN THE MUSIC DOMAIN.
SOME OF THOSE ARE
DIFFICULT FOR ME
TO UNDERSTAND, AND FOR
KRISTI IT'S THE SAME.
YET THE COMMON
DENOMINATOR OF IT ALL
IS THE COMPUTER SYSTEM.

John says DO YOU EVER WORK
WITH SAY A THIRD
OR FOURTH PERSON?
I THINK IN TERMS OF
LANGUAGE, FOR EXAMPLE.
IS LANGUAGE PART OF
THIS INTEGRATION
THAT YOU DEAL WITH?

Kristi says WE DO, INDEED,
OFTEN WORK WITH
OTHER PEOPLE, AS WELL.
ROBERT AND I DO NOT
ALWAYS NECESSARILY
WORK TOGETHER EITHER.
WE OFTEN COLLABORATE
WITH OTHER PEOPLE.
AND IT CAN BE ANYWHERE
FROM A TWO-PERSON
COLLABORATION TO
INVOLVING A WHOLE CLASSROOM,
OR A WHOLE COMPANY
OF VARIOUS PEOPLE.
SO WE DO INTEGRATE A VARIETY
OF DIFFERENT ARTFORMS,
INCLUDING
LANGUAGE, DANCE,
AND OTHER FORMS
OF ARTS, AS WELL.

John says NOW, AT
THE CONFERENCE,
I THINK YOU SET A LOT
OF THE INTERNATIONAL
DELEGATES ON
THEIR EAR.
I THINK THEY WERE
DELIGHTED TO SEE
SKY HARP, WHICH IS
YOUR CREATION.
AND WE'RE GOING TO
SHOW OUR VIEWERS
A LITTLE OF THAT
IN A MOMENT.
BUT TELL ME, FIRST OF
ALL, WHAT IS SKY HARP?

Robert says IT WAS INITIATED
BY A PROJECT FROM
THE KINGSTON ARTIST
ASSOCIATION CALLED
THE MILLENNIUM PROJECT, IN
WHICH ARTISTS ARE INVITED
TO GO TO AN OUTDOORS
AREA TO DO ART,
FOR A WHOLE YEAR, OR
FOR A PERFORMANCE.
AND WE SENT A PROPOSAL
IN WHICH WOULD LOOK AT
AN ELM TREE, AND PLACE
WHAT IS CALLED A VIRTUAL
INSTRUMENT, A COMPUTER
GENERATED INSTRUMENT
AROUND A VIDEO IMAGE WHICH
THEN PLAYS SOUNDS BACK
INTO WATERPROOF SPEAKERS
THAT WERE POSITIONED
OUTDOORS; IN THIS CASE,
AROUND A LARGE MARSH WHAT
WAS THERE, SO THERE WERE
ALL THESE SPEAKERS AROUND.
AND ANYBODY COMING UP
TO THAT WOULD NOTICE,
AFTER A WHILE, THAT WHAT
YOU HEARD AND WHAT
YOU SAW HAD A LOT TO DO WITH
THE EXTENDED ENVIRONMENT.

John says I'M A LAYMAN, SO
JUST LET ME SUMMARIZE.
BASICALLY, YOU'RE
FOCUSING A CAMERA
ON A TREE, AND THE
MOVEMENT OF THE TREE,
OR THE ENVIRONMENT, AND
EVERYTHING THAT'S AROUND IT,
IS TRANSFERRED,
THROUGH COMPUTERS,
INTO SOUND, WHICH COME OUT
OF SOME TUBES IN A GARDEN.
IS THAT BASICALLY IT?
HAVE I GOT IT?

Kristi says THAT'S BASICALLY,
I WOULD SAY WHAT IT IS, YES.

John says LET'S WATCH
IT, AND LISTEN TO IT.

A short clip shows small devices resembling transparent straws that swing in the wind in a flowerbed. Each of them has a small camera. Other larger tubes in the same space emit sound.

[various notes playing]

John says THAT'S WONDERFUL.

Kristi says THANK YOU.

John says AND I'D LIKE ONE
OF THOSE IN MY GARDEN,
I WANT YOU TO
KNOW THAT.
IT WOULD BE GREAT.
WHAT HAVE WE
JUST SEEN?
EXPLAIN NOW SOME OF THE
PRACTICAL ELEMENTS OF THAT.
KRISTI, WHAT
HAVE WE SEEN?

Kristi says ALL RIGHT, WHAT
YOU SAW ARE SOME OF
THE SPEAKER ELEMENTS, OR
SPEAKERS THEMSELVES.
THEY WERE MEANT TO LOOK
AESTHETICALLY PLEASING,
AS WELL AS TO SOUND
AESTHETICALLY PLEASING.
SO WHAT YOU HAVE IS
DIFFERENT SHAPES AND SIZES.
THE ACRYLIC TUBES
YOU SEE HAVE A VERY
IMPORTANT FUNCTION.
THEY FUNCTION AS
THE RESONATORS.
AND WHAT ULTIMATELY
HAPPENS IS EACH SPEAKER,
EACH TUBE, HAS ITS OWN
RESONANT CHARACTERISTIC.
AND THE SOUNDS THAT YOU
HEAR EMERGING FROM EACH
OF THE SPEAKERS AND TUBES
IS DEFINED BY
THE SPEAKER ITSELF, AND IS
SPECIFICALLY DESIGNED
FOR THAT PARTICULAR
SPEAKER.

John says ROBERT, YOU MUST
HAVE MADE SOME DECISIONS
AS TO WHAT THE
SOUNDS WOULD BE.

Robert says AGAIN, IT WAS
AN INTEGRATED DECISION.
CLEARLY, SINCE THE
SPEAKERS COULDN'T
BE BLACK BOXES
IN THE FIELDS,
IT HAD TO BE SOMETHING
WHICH COULD BE SEEN,
BASICALLY, THEREFORE THE
CLEAR MATERIAL WAS IDEAL,
AND THE SPEAKER WOULD
BEHAVE WITHIN
AN ENVIRONMENT AS IF IT
WAS MOVED BY THE WIND.
SO THE SPEAKER COULD
REALLY MOVE WITH
THE STORM, AND
LOOK LIKE IT.
SO THAT WAS A PHYSICAL
DECISION, IT WAS FIRST.
THEN CAME THE
SOUND DECISION,
I WORKED OUT
TOGETHER WITH KRISTI.
AFTER A SPEAKER WAS
SORT OF ROUGHED OUT,
SOUND WOULD BE SENT
TO THE SPEAKER,
AND WE WOULD THEN
CHOOSE THE SOUND,
WHAT WOULD BRING OUT THE
OPTIMUM SOUND QUALITY
OUT OF THE
FINAL SPEAKER.

John says BUT THOSE SOUNDS
COULD HAVE BEEN
ANY KIND OF SOUND.
OR IF I WAS
INVOLVED WITH YOU,
IT COULD HAVE BEEN
ANY KIND OF SOUND
THAT WE WOULD
HAVE HAD.
WE COULD HAVE HAD BABIES,
WE COULD HAVE
HAD CHILDREN'S VOICES, WE
COULD HAVE HAD ANYTHING
OF THAT SORT.
DO I UNDERSTAND
THAT PROPERLY?
IS THAT RIGHT,
KRISTI?

Kristi says YES.

Robert says TO SOME DEGREE.
ACTUALLY, COMPLEX SOUNDS
LIKE THAT WOULDN'T
EASILY DO WELL WITH
THAT MANY SPEAKERS.
ONE IS BETTER OFF DIVIDING
CERTAIN SOUNDS
OVER SPECIFIC SPEAKERS.
THEY GO FROM VERY LONG BIG
ONE TO A VERY TINY SMALL ONE.

John says RIGHT.
I'D LIKE THE VIEWERS TO
SEE THIS ONE MORE TIME.
AND MAYBE THIS TIME WE
CAN TALK ABOUT IT
AS WE ACTUALLY
WATCH IT.
SO LET'S WATCH
IT A SECOND TIME.
AND PERHAPS AGAIN IF YOU
SEE THINGS YOU'D
LIKE TO EXPLAIN TO US,
AS WE SEE THIS.
LET'S DO IT AGAIN.
THIS IS FILMED,
BY THE WAY,
AT THE NEW METRO CENTRE
IN DOWNTOWN TORONTO.
THOSE TUBES WE ARE
SEEING AT THIS POINT.

The clip of the transparent devices plays again.

Robert says THOSE ARE
LARGE 4-INCH ONES,
THE LARGE TUBES, AND THIS
IS A VERY SMALL ONE WHICH
ONLY PUTS OUT THESE VERY
HIGH TWANGING NOISES,
WHAT YOU HEAR.
AND IT'S DRIVEN BY
A VERY LOW WIND.

John says THAT'S A SPEAKER?

Robert says IT IS A
LOUDSPEAKER, YES.
IT'S A HIGH FREQUENCY
SPEAKER PUT TOGETHER
FROM SURPLUS PARTS.

John says IT LOOKS LIKE A
SPONGY ITEM IN THE TOP.
IT IS SOME SPECIAL
MATERIAL AT THE TOP
OF THE SPEAKER?

Robert says IT'S TO MAKE
IT LOOK INTERESTING.
UNSPEAKER-LIKE.

John says SO THOSE HAVE
NO PRACTICAL VALUES,
ITS APPEARANCE?

Robert says OH, YES, THERE'S
A RESONATING CHAMBER
UNDERNEATH
HIDING THAT, YES.

John says AND IT'S INTERESTING
TO WATCH THE PEOPLE'S
REACTIONS AS WE
SEE THEM.
TELL ME ABOUT THE
REACTIONS OF PEOPLE
WHO ARE THERE
SEEING IT.

Kristi says WELL, MOST OF
THEM ARE VERY CURIOUS
AS TO WHERE THE SOUND IS
ACTUALLY COMING FROM.
SO WHAT THEY DO IS THEY COME
VERY CLOSE TO THE SPEAKER.
THEY MAY LOOK
IN THE SPEAKER.
THEY MAY PUT THEIR EAR
NEXT TO THE SPEAKER,
AND TRY IN GENERAL TO
FIGURE OUT WHERE
THE SOUND IS
COMING FROM.
SOMETIMES THEY'RE NOT
QUITE SURE AS TO WHETHER
WHAT THEY ARE SEEING
IS A SOUND GENERATOR,
OR WHETHER IT'S THERE
TO RECEIVE SOUND.
SO SOMETIMES PEOPLE
TRY TO TALK INTO
THE SPEAKER ITSELF.
SO OBVIOUSLY, THERE'S A
GREAT DEAL OF CURIOSITY
AS TO HOW THESE SPEAKERS
ACTUALLY FUNCTION
WITHIN THE PIECE.

John says I WATCHED A FEW
PEOPLE ON THE SITE,
AND I REALLY FELT THAT
THE ADULTS BECAME CHILDREN.
THAT THEY LOST
THEIR INHIBITIONS,
AND THEY REALLY DID
HAVE FUN WORKING
WITH THE ENTIRE THING.
IT MUST BE WONDERFUL
TO BE THERE.
ARE YOU ALWAYS WITH
IT AT MOST POINTS
TO EXPLAIN IT
TO PEOPLE?

Robert says I LIKE TO BE
THERE TO SEE THAT.
THE PIECE, INDEED, WORKS
ALMOST IMMEDIATELY.
ALMOST EVERYONE THERE, IT
WAS A RATHER COLD WEEK,
AND THEY COME UP
TO US AND SMILE.
AND IT'S WORTH A
LOT TO SEE THAT.
ALTHOUGH IT COULD
RUN INDEPENDENTLY
WITHOUT US
BEING THERE.

John says THE FIRST TIME I SAW
IT I FAILED TO REALIZE
THERE WAS A CAMERA
INVOLVED BECAUSE
I DIDN'T SEE
THE CAMERA.
NOW, IN OUR CASE,
WHERE WAS THE CAMERA?

Kristi says THE CAMERA WAS
INSIDE ROY THOMPSON HALL.
IT WAS POINTING OUT
OF ONE OF THE WINDOWS,
AND IT WAS ACTUALLY
PICKING UP ONE
OF THE TREES JUST OUTSIDE
ROY THOMPSON HALL.
IN THIS CASE, IT
WAS A LOCUST TREE.
IT WAS THE ACTUAL MOVEMENT
OF THE LOCUST TREE
IN THE WIND THAT WAS CREATING
ULTIMATELY THE SOUNDS.

John says AND IF ONE WERE
TO HEAR IT FROM INSIDE
THE HALL, I SUPPOSE THERE
WOULDN'T BE THE AMBIENT
SOUNDS OF THE
TRAFFIC, AND SO ON,
THAT WE HEARD IN
THAT FIRST CLIP.

Kristi says THAT'S RIGHT.

John says ALL RIGHT, THEN,
LET'S MOVE INSIDE WITH
OUR CAMERA BECAUSE OUR
CAMERA CREW WAS THERE,
AND LET'S LOOK AT
IT NOW FROM INSIDE.
AND AGAIN,
LET'S WATCH IT,
AND WE'LL COMMENT
ON IT LATER.

Another clip shows the device from a different angle. Plants and flowers in the flowerbed sway in the wind as the device emits a cacophony of musical notes.

[various notes playing]

Then two small screens appear showing images of tree foliage moving in the wind. Then, fast clips show mixers and other electronic sound equipment.

John says THAT'S WONDERFUL.
THAT'S GREAT.
NOW, THE IMAGES WE
SAW INCLUDED THE TREE
THIS TIME.

Kristi says THAT'S
RIGHT, YES.

John says WHAT OTHER
EQUIPMENT DID WE SEE?

Kristi says WELL, WE SAW, OF
COURSE, THE SYNTHESIZERS,
THE ACTUAL SOUND
GENERATORS,
WHICH CREATED
THE SOUND.
TX 802 IS THERE.
WE ALSO SAW
AN AMPLIFIER.
NOW THIS IS A SPECIAL
SORT OF AMPLIFIER.
IT HAS EIGHT CHANNELS,
UNLIKE THE NORMAL
TWO-CHANNEL AMPLIFIER,
AND THIS WAS INCIDENTALLY
BUILT BY ROBERT,
SPECIFICALLY
FOR THIS PROJECT.
WE SAW THE COMPUTER AND
THE MONITOR ITSELF.
THE SMALL
MONITOR DISPLAYED
THE ORIGINAL IMAGE
OF THE TREE,
AS PICKED UP BY
THE VIDEO CAMERA.
AND THEN WE SAW, AS WELL,
ON THE COMPUTER MONITOR,
WHAT THE PROCESSING
OF THE COMPUTER SAW.
IN OTHER WORDS, THE BRAIN
OF THE COMPUTER SAW,
AND WHAT YOU SAW
THERE WAS SORT OF
A BLACK AND
WHITE IMAGE.
AND UNFORTUNATELY,
WE DIDN'T SEE IT IN
THE ACTUAL MONITOR, BUT
THERE ARE SMALL SORT OF
SENSITIZED AREAS WHICH
INDICATE WHERE THE SOUND
IS ACTUALLY BEING
TRIGGERED BY THE TREE.

John says WELL, NOW WITH THAT
DESCRIPTION IN MIND,
LET'S ROLL IT
ONE MORE TIME.
AND AGAIN, LET ME ASK YOU
TO COMMENT IF YOU SEE
CERTAIN ITEMS WE CAN
SEE WHEN IT COMES UP
ON THE SCREEN.
OKAY, HERE WE GO A SECOND
TIME WITH THE INDOOR SHOTS.

The clip plays again.

[various notes playing]

Robert says HERE'S THE WHOLE
COLLECTION FROM THE VERY
LARGE 6-INCH TUBE ON
THE RIGHT-HAND SIDE,
WHICH ONLY PUTS OUT VERY
LOW BASE FREQUENCIES,
TO THE VERY SMALL ONE
HERE, WHICH IS
ABOUT AN INCH-AND-A-HALF
PIECE OF TUBING.
IN THE RAIN.
IT WAS RAINING
AT THAT TIME,
WHICH DOESN'T
AFFECT THE SPEAKERS,
JUST THE AUDIENCE.

[various notes playing]

Kristi says HERE'S SOME MORE
OF THE SMALLER TUBES.
AND HERE WE ARE
ON THE INSIDE.
AS I MENTIONED, THE TOP
MONITOR IS WHAT THE
VIDEO CAMERA IS PICKING
UP, AND THE BOTTOM,
LARGER MONITOR, SHOWS
THE ACTUAL PROCESSING
TAKING PLACE.
HERE ARE THE PICTURES
OF THE SYNTHESIZERS.
THOSE ARE THE TX 802s.
THE BLINKING LIGHTS SHOW
WHEN THE ACTUAL SOUND
IS BEING TRIGGERED.
EVERY TIME YOU SEE
THE LIGHT, OF COURSE,
YOU ARE SEEING A SOUND.
THAT IS THE AMPLIFIER,
THE EIGHT CHANNEL
AUDIO AMPLIFIER.

John says GREAT.
THANK YOU, THAT'S
WONDERFUL.
NOW, I HAVE TO SAY
I THINK THAT'S VERY,
THAT'S OVERWHELMING.
IF I'M A TEACHER, I
PROBABLY DON'T HAVE,
NOT HALF OF
THAT EQUIPMENT,
ANY OF THAT EQUIPMENT,
I'D BE LUCKY
IF I DO HAVE THAT.
YET I KNOW YOU BELIEVE
THERE ARE EDUCATIONAL
IMPLICATIONS OF THIS.
LET'S START
WITH SKY HARP.
WHAT DOES THIS MEAN
FOR THE SCHOOLS
AND FOR TEACHING MUSIC
IN THE SCHOOLS?
ROBERT?

Robert says IN THE FIRST PLACE
IT HAS TO DO WITH SOUND,
THE DESIGN OF SOUND, THE
PERCEPTION OF SOUND,
AND TO BE ABLE TO
VOCALIZE THAT WITHIN
A GROUP, AND COME ONE A
SOUND WHAT FUNCTIONS
IN A SPECIFIC CONTEXT CAN BE
DONE BY VERY SMALL MEANS.
IT CAN BE DONE BY USING
THESE CUPS AND HITTING THEM,
FILLING THEM WITH
AMOUNTS OF WATER.
SO IF ONE IS AFTER
GENERATING SOUNDS,
AND FROM THERE ON MUSIC,
THE MOST INEXPENSIVE
MEANS CAN BE USED.
WE WENT AROUND SINGING
IN TUBES, FIRST,
TO FIND THE RIGHT TUBE,
AND YOU CAN USE CARDBOARD
OR ANY OTHER THING TO
EDUCATE ONE ABOUT
THE PRINCIPLE OF
ACOUSTICS AND ALL THAT.

John says BUT IF I WERE
DEALING WITH SECONDARY
PANEL STUDENTS, I REALLY
THINK THEIR BLOWING ON WATER,
OR DOING SOMETHING
WITH A CERAMIC CUP
IS A BIT SIMPLE, MAYBE
EVEN A BIT NAIVE
TO PRESENT TO THEM.
BUT ARE THERE OTHER
THINGS ONE CAN DO WITH
SIMPLE OBJECTS EVEN IN
THE CLASSROOM TO BEGIN?
AND LET'S THINK IN TERMS
OF THE SECONDARY PANEL,
IF WE CAN.
KRISTI, WHAT ELSE
MIGHT ONE DO TO BUILD
TOWARD THIS WITH
ONE'S STUDENTS?

Kristi says I THINK ONE OF
THE VERY IMPORTANT THINGS
ABOUT THIS INSTALLATION,
IF ONE WANTS TO TALK
ABOUT SKY HARP, IS
STUDENTS' AWARENESS
OF ECOLOGY AND ENVIRONMENT,
AND CERTAINLY SKY HARP
CAN BE USED TO BEGIN
A DISCUSSION
ON ENVIRONMENTAL VALUES AND
ENVIRONMENTAL AWARENESS.
STUDENTS CAN
ALSO, OF COURSE,
DESIGN THEIR OWN
SPEAKERS AND BUILD
THEIR OWN SPEAKERS.
AND THEY CAN ALSO DO THE
COMPUTER PROGRAMMING,
WHICH IS NOT THAT
DIFFICULT ULTIMATELY
PROVIDED THEY HAVE THE
APPROPRIATE SOFTWARE.
SO THEY CAN GET INVOLVED
NOT ONLY ON THE TECHNICAL
LEVEL, BUT THEY CAN
ALSO GET INVOLVED
ON THE DESIGN LEVEL.
THEY CAN GET INVOLVED
ON THE AESTHETIC LEVEL,
AND CERTAINLY ON THE
ENVIRONMENTAL LEVEL,
AS WELL.

John says YOU'RE
REALLY, I THINK,
ADVOCATING AN
INTEGRATION EVEN WITHIN
THE HIGH SCHOOL
IN ONTARIO.
SO PERHAPS THE TECHNICAL
DEPARTMENT WORKS
WITH THE MUSIC DEPARTMENT,
AND OUT OF THIS COMES
THE STUDENTS' EQUIVALENT
OF SKY HARP.

Kristi says THAT'S RIGHT.

John says HAVE YOU SEEN
STUDENTS ACTUALLY
DO THAT IN SCHOOLS?

Kristi says WE HAVEN'T AS
SUCH BUILT A SKY HARP
IN THE SCHOOLS.
WHAT WE USUALLY DO IN OUR
WORKSHOPS AT SCHOOL
IS PUT TOGETHER A
PERFORMANCE WORK THAT'S
USUALLY PERFORMED BY THE
STUDENTS AT THE END
OF THE WORKSHOP.
USUALLY, IT INVOLVES
ELECTRO-ACOUSTIC MUSIC
COMBINED WITH COMPUTER
CONTROLLED SLIDES,
AND POSSIBLY SOME SORT
OF DANCE MOVEMENT,
LANGUAGE, OR
ACTING AS WELL.
WE'VE DONE A NUMBER
OF THESE WORKSHOPS
THROUGHOUT THE TIME THAT
WE'VE BEEN WORKING
IN THE SCHOOLS.

John says IF TEACHERS
WANTED TO WELCOME YOU
INTO THEIR SCHOOLS, HOW
WOULD THEY CONTACT YOU?
LET'S JUST DO THAT RIGHT
NOW WHEN WE MENTION THIS.
ROBERT, WHERE WOULD THEY
GET IN TOUCH WITH YOU?

Robert says I THINK WE ARE
MENTIONED IN THE ONTARIO
ARTS COUNCIL, ARTS
AND EDUCATION BOOK.
OUR ADDRESS IS
IN THERE.
WE CAN BE CONTACTED
THROUGH THAT.

John says COULD THEY
CONTACT YOU THROUGH
THE CANADIAN
MUSIC CENTRE?
THE ONTARIO REGIONAL
OFFICE WHICH IS
ON ST. JOSEPH STREET,
20 ST. JOSEPH STREET
IN TORONTO?

Kristi says YES, THEY COULD.

John says GOOD, GOOD.
SPECIFICALLY, LET'S TAKE
ONE SCHOOL YOU'VE BEEN TO.
YOU CHOOSE THE SCHOOL, AND
TELL ME WHAT YOU DID
IN THAT PARTICULAR
SCHOOL.
WHAT SCHOOL WILL
YOU CHOOSE?

Robert says IN CORNWALL,
COLLECTIVE HIGH SCHOOLS,
ALL THE HIGH SCHOOLS
THERE FROM THE BOARD OF
EDUCATION IN CORNWALL
WANTED US THERE FOR
A WEEK, WHICH IS FULL DAYS,
AND THEY PUT ABOUT
12 STUDENTS TOGETHER.
AND THERE WAS ONE YOUNG
MAN WHO WAS ABOUT 14;
THIS WAS A GRADE 13, BUT
HE WAS A VERY YOUNG ONE,
AND HE WROTE A
FANTASTIC STORY.
AND WE DECIDED
TO DO THAT STORY.
AND THEY ENDED UP
MAKING THE COSTUMES,
SPEAKING THE TEXT,
DOING THE CHOREOGRAPHY,
DOING THE DANCE, DOING THE
COMPUTER PROGRAM SLIDES,
AND WRITING MUSIC
FOR 15 MINUTES,
AND PERFORMING IT FOR A
LIVE AUDIENCE AT THAT TIME.

John says HOW MANY STUDENTS
WERE ALL INVOLVED
IN THE WHOLE PROCESS?

Kristi says I THINK
IT WAS ABOUT 20.

Robert says YEAH, 20 TO 18.
THEY WERE REALLY
ALL INVOLVED IN IT,
AND ALL THE
DIFFERENT FACETS.
WHEN THEY CAME THEY
DIDN'T KNOW EACH OTHER.
SO THE FIRST PROBLEM IS
COMMUNICATION OF THE GROUP.
FROM THERE ON, THEY
DEVELOPED A VARIETY OF SKILLS,
ALL THE WAY FROM
SIMPLE COSTUME MAKING
TO DANCING, WHAT THEY
HAD NEVER DONE EITHER.

John says AND HOW LONG A PERIOD
OF TIME WOULD THAT TAKE?

Robert says THAT WAS
ABOUT SIX HOURS A DAY
FOR FIVE DAYS,
30, 40 HOURS.

John says FASCINATING.
THAT'S WONDERFUL.
AND IT DEBUNKS THE WHOLE
IDEA THAT EVERYTHING
HAS TO BE AS SOPHISTICATED
AND COSTLY
AS WHAT IT WOULD BE
TO MOUNT SKY HARP.

Kristi says THAT'S RIGHT.
IT'S NOT REALLY VERY
COSTLY BECAUSE
THE EQUIPMENT - WE
PROVIDE THE MAJORITY
OF THE EQUIPMENT.
THE SCHOOL PROVIDES
SOME OF THE MATERIALS,
AND OF COURSE WHATEVER
ASSISTANCE WE CAN GET
IN TERMS OF TEACHER
SUPPORT IS VERY GRATEFULLY
ACCEPTED, AS WELL.
BUT FOR THE MOST PART, THE
COSTS ARE NOT VERY MUCH
IN TERMS OF THE SCHOOLS.

John says I'M STRUCK,
AS I LISTEN TO YOU,
THAT YOU HAVE A REAL
COMMITMENT, AS ARTISTS,
TO COMMUNITIES.

Kristi says YES.

John says AND I WONDER IF YOU
WOULD COMMENT ON THAT.
IT'S VERY IMPORTANT,
I BELIEVE,
AND I THINK YOU
SHARE THAT BELIEF,
THAT ARTISTS BE WITH
THEIR AUDIENCES.
AND IN THIS CASE, TO
DEVELOP THEIR AUDIENCES.
WHY ARE YOU SO
INSPIRED?

Kristi says WELL, I THINK
ROBERT AND I BOTH
BELIEVE THAT THE ARTIST
HAS A COMMITMENT
TO THE COMMUNITY.
THAT PART OF THEIR
FUNCTION IN LIFE
IS BEING AN EDUCATOR, AS
WELL AS BEING A CREATOR.
AND THIS MEANS EDUCATION
AT ALL LEVELS.
OBVIOUSLY, IN THE SCHOOLS,
ALSO IN OTHER SORTS
OF COMMUNITY OUTREACH
PROGRAMS, AND ULTIMATELY,
PERHAPS, OFTEN THE
WORK OF ART ITSELF
BECOMES A TOOL
FOR EDUCATION.

John says ROBERT?

Robert says THE ARTIST AS
AN ARTISTIC CUSTODIAN
WITH APPRENTICES, IF YOU WISH,
THE SORT OF RENAISSANCE WAY
IS STILL VERY VALID
IN SOCIETY BECAUSE
THE ARTIST IS THE CREATIVE
POWER BEHIND THIS,
AND THE EDUCATION
THEN BECOMES ALMOST
SECONDARY TO THAT.

John says NO MORE
IVORY TOWERS.

Robert says NO.

John says AT QUEEN'S,
ESPECIALLY.
NO MORE IVORY TOWERS.

Kristi says NO MORE
IVORY TOWERS.

John says THAT'S WONDERFUL.
WHAT'S AHEAD FOR YOU?
WHAT DO YOU
PLAN TO DO SOON?

Kristi says WELL, I THINK,
PERSONALLY, WE PLAN,
AS FAR AS SKY
HARP IS CONCERNED,
TO KEEP DEVELOPING
SKY HARP
AS A SOUND
INSTALLATION.
THE MILLENNIUM PROJECT
ITSELF IS DESIGNED
TO LAST FOR TEN YEARS.
AND WE'RE HOPING EVERY
YEAR WHEN SKY HARP
GETS DISPLAYED AS PART OF
THE MILLENNIUM PROJECT,
IT WILL ALWAYS
BE DIFFERENT.
WE HAVE, ON A
TECHNICAL LEVEL,
AN AESTHETIC LEVEL, A
NUMBER OF PLANS TO EXPAND
SKY HARP, TO ADD TO
THE COMPUTER NETWORK,
TO ADD MORE SPEAKERS, TO
ADD MORE PROGRAMMING,
AND TO CERTAINLY
EXPAND ON THE MUSICAL
AND COMPOSITIONAL
ELEMENT, AS WELL.

John says ROBERT, WHAT
DO YOU SEE AHEAD
CREATIVELY FOR
YOURSELF?

Robert says SKY HARP
IS THE PRIMARY THING.
FOR EXAMPLE, YOU MENTION
PEOPLE SCRATCHING
THIS LITTLE SPEAKER IS
CLEARLY SOMETHING
WHICH CANNOT BE
IGNORED AND SHOULD
GO BACK INTO THE
COMPOSITION.
BECAUSE PEOPLE ARE PART
OF THE ENVIRONMENT, TOO.
SO IT WOULD BE VERY
NICE TO SAY, WELL,
YOU DID THIS.
THIS IS WHAT'S
HAPPENING TO THAT.

John says INTERACT
WITH THE TREE.

Robert says EXACTLY.
IN SOME WAY.

John says THE DAY I SAW IT,
A BIRD CAME BY AND FLEW
RIGHT IN FRONT OF
THE CAMERA RANGE.
AND THE BIRD - IT WAS
ABSOLUTELY MARVELLOUS
TO HEAR THE RESULT OF THE
BIRD CREATING THE SOUND.

Kristi says YEAH.

John says IT WAS A
WONDERFUL THING.
PLEASE KNOW HOW IMPORTANT
IT'S BEEN, I THINK,
FOR US TO HAVE SEEN YOUR
PRESENTATION TODAY.
AND I THINK FROM THE
POINT OF VIEW
OF THE CONFERENCE, HOW
UNIQUE IT HAS BEEN TO HAVE
HAD YOU AS PART OF
THE CONFERENCE.

Kristi says THANK YOU.

John says ARE THERE ANY
PARTICULAR PLACES WHERE
PEOPLE IN ONTARIO WILL
BE ABLE TO, SAY IN 1992,
OR '93, TO SEE
SKY HARP?
WHERE'S ITS
NEXT SHOWING?

Kristi says HOPEFULLY, IF
NOT BEFORE NEXT SUMMER,
PROBABLY AT THE LITTLE
CATARAQUI CONSERVATION
AUTHORITY, AS
WELL, OF COURSE,
SKY HARP DOES GET
INVITATIONS FROM
A VARIETY OF
DIFFERENT PLACES.
I DON'T HAVE
ANYTHING SPECIFIC,
BUT I WOULD SUGGEST PEOPLE
KEEP THEIR EYES OPEN,
AND WHO KNOWS, IT'LL
PROBABLY BE AROUND.

John says I'M SURE IT'S
WELCOME BACK AT TV ONTARIO
AT ANY POINT.
THANK YOU VERY MUCH.
REGRETTABLY, WE
HAVE NO MORE TIME,
BUT THIS HAS BEEN A
PARTICULARLY UNIQUE SHOW
FOR US, AND WE APPRECIATE
YOU BEING HERE.
I THINK MY GARDEN COULD
NEVER BE THE SAME AGAIN.
THANKS TO MY GUEST, KRISTI
ALLIK AND ROBERT MULDER
FROM QUEEN'S UNIVERSITY.
THIS HAS BEEN A SPECIAL
PROGRAM SERIES
TEACHING MUSIC.
THANK YOU FOR WATCHING.
MY NAME IS JOHN MILLER.

A clip shows people looking at the device and listening to its sounds.

[various notes playing]

The end credits roll.

Theme music, Glenn Gould, Piano. Courtesy Sony Classical.

SKYHARP footage courtesy of Peter Mak for Makrom Productions.

A production of TVOntario.

Copyright 1992, The Ontario Educational Communications Authority.

Watch: Kristi Allik and Robert Mulder