The Performance Studies Network conference 2013. . Blackburn, A. The Organ and realtime DSP The pipe organ and real time digital signal processing: a performer's perspective. Andrew Blackburn - Universiti Pendidikan Sultan Idris Abstract Pipe organs are often perceived as musically reactionary sites, housed in churches, town halls or major performance centres under the auspices of conservative structures. Contrary to this perception, over the last six hundred years, there have always been composers using the instrument as a vehicle for musically ‘avant-garde’ expression. Recently, composers have incorporated realtime digital signal processing (DSP) into works with pipe organ. Preparing two such works Vanitas (2005), Steve Everett, and Eight Panels (2007 rev 2010), Lawrence Harvey, has altered many of the understandings of this organist as performer. This paper will position these works within the pipe organ canon, focussing on the new performative techniques required of the organist bringing both pieces to performance. As a practice-led research methodology, this project was illuminating – both of new processes, relationships and performance techniques which evolved during development and rehearsal stages and reflection on the more traditional performance paradigms of the pipe organ. Introduction Pipe organs are often perceived as musically reactionary sites, usually housed in churches, town halls or major performance centres under the auspices of conservative civic structures. There is, however, a contrary historical view that subverts this perception. Over the last six hundred years, there have always been significant composers using the instrument as a vehicle for musically ‘avant-garde’ expression. A brief overview of some diverse historical developments makes this quite evident, and forms the first part of this paper. This serves to contextualize the posture that underpins a major argument of the paper: that recent compositions for pipe organ with real time digital signal processing (DSP) has an historical dimension, and is one of many new and radical paths being followed by composers as they reinvigorate the musical life of the instrument. Being located in a Performance Network Conference, and the focus in my recent Doctor of Musical Arts submission, the historical, compositional and analytical elements are all viewed through the prism of the performance perspective. Much of the research contained in this paper is drawn from this doctoral submission, which may be accessed online at https://www120.secure.griffith.edu.au/ rch/file/685b1a2e-d1f6-572a-52ee-4e83cb30b19c/1/Blackburn_2011_01Abstract.pdf or in its interactive form at http://www.hutes.com.au/PipeOrgan/index.html which contains audio and video examples and content. With more than thirty years experience as a traditional concert and church organist (albeit with a passion for new and experimental music), at this personal, performative level, preparing such works altered many of my understandings of what it means to be an organist and how I am as Page of 1 18