Hybrid Conductor Case Study and Analysis of Alexander Schubert’s Point Ones Thomas R. Moore Royal Conservatoire of Antwerp and University of Antwerp (ARIA) thomas@thomasrmoore.co.uk Abstract At the premiere of Point Ones for small ensemble and augmented conductor (2012) by Alexander Schubert (1979-), I had a front row seat to Daan Janssens’ impressive performance as the augmented solo-conductor. There was an observable and palpable tension between the live electronics and live musicians, created both by Janssens’ performance and Schubert’s programming and composition. During the compelling solo-conductor’s cadenza, Janssens completely released control of the live musicians and freely explored the virtual realm afforded the conductor by the electronics. In this paper, I will briefly explain Schubert’s score and my analysis thereof. The usage of the live electronics is considered as well as the balance that the conductor must maintain between the electronics and the live musicians. Comparable pieces are then reviewed. I will conclude this paper by determining that there are five detectable artistic and socio-economic criteria for utilizing a conductor in Point Ones. Keywords: New Music, Conducting, Live Electronics The case: Alexander Schubert’s Point Ones for small ensemble and augmented conductor Point Ones for small ensemble and augmented conductor (Point Ones) was premiered in 2012 by Nadar Ensemble with conductor Daan Janssens in Centralstation, Darmstadt, Germany, and commissioned by the Darmstadt Summer Course for New Music. The piece is orchestrated for clarinet or saxophone, piano, electric guitar, drums, violin, cello, augmented conductor, electronics technician, and audio engineer. This case study and analysis will refer to the score that was published by the composer in 2012. 1 The conductor is augmented with two enhanced WiiMotes attached to their wrists. The user interface (UI) tracks specific motions and gestures made by the conductor. The tracked (mapped) gestures trigger prepared and pre- sequenced live electronics. The (conductor’s) score has also been augmented. On top of each stanza, Schubert has written four additional (as it relates to today’s conventionally accepted orchestral/ensemble scores) horizontal lines. These lines are used to instruct and guide the conductor throughout the piece. The lines are labeled and read from top to bottom: Right hand: choreography for the right hand; Left hand: choreography for the left hand; Electronics: a description of the live electronics produced by the right and/or left hand (or manual jump); 1 Schubert, Point Ones (2012), score: https://www.dropbox.com/s/c3crop3ee9j32xf/Point%20Ones.pdf?dl=0