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Theo Burt: Composition Folio

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Theo Burt: Composition Folio Teodore Burt PhD Te University of York Music Research Centre September 2 !2 2 Abstract " fo#io is presented consistin$ of seven computer%$enerated compositions. Many of the 'orks create and exp#ore relationships bet'een sound and video) reflectin$ a concern 'ith the mu#ti%moda# nature of perception& +n most of these compositions, materia# is structured by simp#e a#$orithmic processes. Tese processes are used to exp#ore relationships bet'een perception and co$nition, ho' the chan$in$ form of a 'ork over time revea#s the nature of a process to us, and ho' our understandin$ of that process a-ects our expectation and anticipation of future form& .ne 'ork in the fo#io takes the approach of transformin$ existin$ sound and ima$e& Tis process is used in an attempt to disrupt /musica# meanin$/ and other symbo#ic content encoded in the source materia#& 0hese compositions 'ere comp#eted bet'een 2 1 and 2 !2 and are presented chrono#o$ica##y) demonstratin$ the pro$ression of my ideas throu$hout this period& An accompanyin$ text discusses ideas relevant to the fo#io in $enera# and $ives a critica# commentary on each 'ork& Compositions inc#uded, Four) Colour Projections) Control Processes) Summer Mix) Colour Projections / set 2) Bastard Structures 2) Tiling Sessions& 2 Contents "ckno'#ed$ements 3 Dec#aration 3 ! +ntroductory notes 4 2 Summary of 'orks 5 2 Back$round !2 6 Methodo#o$y 22 3 7our 23 4 Co#our Pro8ections 22 5 Contro# Processes 62 9 Summer Mi( 69 1 Co#our Pro8ections : set 2 33 ! Bastard Structures 2 31 !! 0i#in$ Sessions 44 !2 Conc#usion and future 'ork 52 Resource ;ist 53 6 List of Figures 7i$ure !, <(amp#e of binary "udio 7re=uency%Shift ?ey @"7S?A pattern&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&24 7i$ure 2, A sti## from 7our sho'in$ the video output from the array of four panels.&&&&&&&&&&&&25 7i$ure 2, Mappin$ of regu#ar po#y$ons to audio 'aveforms in /Co#our Pro8ections'&&&&&&&&&&&&&26 7i$ure 6, Sti## from Co#our Pro8ections &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&29 7i$ure 3, Sti## from Co#our Pro8ections&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&21 7i$ure 4, Sti## from Co#our Pro8ections&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&6 7i$ure 5, Sti##s from sub-compositions in Contro# Processes&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&66 7i$ure 9, Tree sti##s from Bastard Structures II performed at Mi##er/s Yard) York&&&&&&&&&&&&&&&&&4 7i$ure 1, <(amp#es of simp#e isometric shapes defined over a trian$u#ated isometric $rid&&45 List of Tables 0ab#e !, Mappin$ of #ist numbers to duration of 'aveform osci##ation in 7our&&&&&&&&&&&&&&&&&&&&&&24 3 Acknowledgements 0hanks to 0ony Myatt) Peter Corth and 0im Cri$ht for count#ess hours of discussions, advice) ideas, opportunities, co##aborations, ar$uments and patience over the #ast four years and more& Tanks a#so to Mark 7el#) Russel# Daswel#) Roc EiméneG de Cisneros, "##on ?aye and Anna Ramos for advice) support and friendship& And to my parents and brother for everythin$& Declaration "## compositions 'ithin this fo#io are entirely my o'n 'ork) 'ith the exception of Bastard Structures 2 'hich is a co##aboration 'ith artist 0im Cri$ht& "## accompanyin$ text is my o'n 'ork and has not been presented before. 4 1 Introductory notes Tis fo#io contains ei$ht compositions. Tis document 'i## present relevant back$round information and a brief commentary on each piece& +n section 2 I present a summary of the 'orks 'ithin the fo#io& P#ease read this before #istenin$ or 'atchin$ any of them) as it contains important information about their presentation& Cith some of the 'orks it is appropriate to read the commentary Brst) and in other cases it is beneficia# to experience the 'ork before readin$ about it& +n section 2 I discuss issues that are relevant to the 'ork in the fo#io& Tis inc#udes brief discussions of mu#ti%sensory perception) simu#taneous sound and video) aesthetic imp#ications of contemporary sound and video techno#o$y and process in art and music& +n section 6 I present a methodo#o$ica# overvie' of the process by 'hich I arrived at this fo#io of compositions, in terms of theory) experimenta# practise) self%reflection) expert opinion and performance& +n sections 3 to !! I present commentaries for each piece in the fo#io& Tese are presented in chrono#o$ica# order 'ith respect to the comp#etion of each 'ork& +n each commentary I discuss my ideas and thou$hts prior to comp#etin$ the piece) describe the practica# creation of the 'ork) and discuss relevant aesthetic issues. Te exact structure I use varies 'ith each composition& +n section !2 I present a conc#usion) in the form of a brief summary of the fo#io and the relationships bet'een the 'orks presented& I a#so detai# some current and future pro8ects and their relationship to the 'ork presented here& Trou$hout the commentaries I discuss the a#$orithms at 'ork) but I have chosen not to elaborate on their so>'are imp#ementation& Hevertheless, much of the time spent developin$ the compositions 'as necessari#y spent 'ritin$ the so>'are& Te 'ord /composition/ is often ambi$uous. 0o avoid ambi$uities as much as possib#e I have arbitrari#y chosen to use it in the remainder of the text on#y in relation to tempora# structure& Dence) as a verb) to compose) I use it to mean the act of determinin$ the structure of materia# over time& "s a noun) composition, I use it to refer to some existin$ structure) 'ith respect to time& Trou$hout the text + use the 'ord /music/ on#y to refer to features of sound that mi$ht cu#tura##y or traditiona##y be considered /musica#/& 5 2 Summary of works Tis sections provides a summary of 'orks submitted in the fo#io) 'ith references to the relevant B#es inc#uded on the accompanyin$ DID%R& +t a#so provides some information on #istenin$ to and vie'in$ the 'ork& Notes on listening to and viewing the works Tere are some 'orks in this fo#io) 'here it may be more interestin$ to see the 'ork before readin$ its associated commentary) and in some cases the reverse is true& +f this is the situation I note it belo') in the summary for each 'ork& Because of the simp#e synthesis methods used in many of the pieces, none of them suit p#ayback over headphones or earphones. Most contain #o'%fre=uencies 'hich may be comp#etely inaudib#e p#ayed back over sma##er speakers, such as #aptop speakers. P#ease use $ood =ua#ity monitor speakers that have a fu## and ba#anced fre=uency ran$e& Te video B#es inc#uded fa## into t'o categories. Te ma8ority are direct recordin$s from the computer& Tis is the type of video materia# that is fed direct#y to a pro8ector in a performance or insta##ation situation& "## the video 'orks are intended for p#ayback on #ar$e pro8ected surfaces, and have been composed in this situation& +f this is not a possibi#ity durin$ the vie'in$ process, then p#ease try to use as #ar$e a screen as possib#e& Te t'o video B#es 'hich do not fa## into this category are in the form of video documentation of an insta##ation and performance& Tese are relatively #o'%=ua#ity @#imited by #i$htin$ conditions etc&A) but as documentation are more robust to vie'in$ and #istenin$ conditions than the direct recordin$s. 7ina##y in Summer Mix there are some ima$es inc#uded) 'hich are best vie'ed di$ita##y) rather than printed& "## audio%on#y data is provided in !4%bit) 66 ! DG) stereo C"I format) and can be p#ayed back on any standard media%p#ayer or editor& Iideo B#es are a## in .mov and .mp4 formats. Tey have been tested for p#ayback 'ith !C Media Player 2.#.$ and %pple &uic'Time (#.2( 2. Do'ever) they shou#d 'ork on any recent versions of these p#ayers. &uic'Time is much preferred) as it represents co#ours more consistent#y bet'een formats, and 'i## not distort sound& !C has a tendency to sho' videos 'ith a reduced dynamic ! !C Media Pla"er& 2 QuickTime& 9 ran$e) and bad#y decodes some audio formats. P#ease copy data B#es from the DID%R to disc before #istenin$ or vie'in$& "s 'el# as bein$ =uieter from a hard drive) some of the data%rates in the #ar$er video B#es may be too hi$h to stream direct#y from disc) 'hich 'i## resu#t in 8itterin$& Four 2 1& +nsta##ation 'ork& 6 channel di$ita#%audio) di$ita#%video pro8ected on to 6 7oamex boards. DVD-R Files: 1.Four/Four.mov @!6,33s) Four. Main documentation& Direct sound and video recordin$ of the entire 'ork& 1.Four/Four_Dean_Clough_(excerpts).mp4 @!2,!9s) Four. ;ive foota$e from insta##ation at Room Mode exhibition @excerpts)& Iiaduct Teatre) Dean C#ou$h) Da#ifa() 7ebruary 2 ! & Curator, Iic "##en These excerpts are provided to give an impression o* t+e installed ,or'. 1.Four/Four_Dean_Clough_1.ti!" ..._2.ti!" …_3.ti! Four. Tree photo$raphs of insta##ation at Room Mode exhibition& Iiaduct Teatre) Dean C#ou$h) Da#ifa() U?& 7ebruary 2 ! & Curator, Iic "##en Colour Projections 2 1 J & Performance : +nsta##ation : Screenin$ 'ork& 2 channel di$ita#%audio) pro8ected di$ita#%video& !isten/view -efore reading commentar".
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    GREATER KANSAS CITY MUSIC DIRECTORY 1ST EDITION (FEBRUARY 2015) ! Rush, Styx, Kansas, Shooting Star, Iron Maiden, ---- Cadillac Flambe DBA Big sky KC AREA Riot and more. Bill Crain Group ---- Kris Bruders Monzie Brummett Bill Crain Ashes to Immortality http://www.facebook.com/pages/Cadillac- http://monzieleo.co BANDS http://www.billcrain.com Flambe/274257025472 [email protected] Mike Hannah [email protected] [email protected] Country http://www.reverbnation.com/asheslawren 3 Bricks Shy Jazz Americana A four part harmony string band, we'll play for a ce Bill Crain is a jazz saxophonist and multi- Infectious delta boogie stomp, soulful singing, little over two hours. Available for weddings,your Rick Lally [email protected] woodwind musician on the Kansas City music audience rocking sounds made by husband and garden party, your bar, or venue! You'd call us a http://3BricksShyBand.com Bluegrass scene since 1981. He performs original modern wife, Kris and Havilah Bruders, Mike Payne, and bluegrass band,though we are heavily influenced [email protected] A 6 piece progressive bluegrass band with jazz with his long-time quartoet, the Bill Crain Dave Duly. by classic country. We'll drive anywhere Folk/Acoustic dynamic female vocals, original songwriting and Group and is KC's most prolific studio woodwind ---- regionally for a weekend show, if we aren't 3 Bricks Shy is acoustic trio that plays all original innovative musicianship from acoustic guitar, musician. Bill has been honored as a "Kansas Caprice Classic traveling already! music which includes several genres like folk, fiddle, mandolin, bass and drums.
  • How Do You Make Music a Body Without Organs? Gilles Deleuze

    How Do You Make Music a Body Without Organs? Gilles Deleuze

    How Do You Make Music a Body without Organs? Gilles Deleuze and Experimental Electronica Christoph Cox (This article appeared in German translation as “Wie wird Musik zu einem organlosen Körper? Gilles Deleuze und experimentale Elektronika” in Soundcultures: Über digitale und elektronische Musik, ed. Marcus S. Kleiner and Achim Szepanski [Frankfurt: Suhrkamp Verlag], 162–93. A version in Italian was published in Millesuoni: Deleuze, Guattari, e la Musica Elettronica, ed. Roberto Paci Dalo and Emanuele Quinz [Napoli: Edizioni Cronopio, 2006].) Gilles Deleuze wrote about music only in passing. Throughout his philosophical corpus, one finds a scattering of musical examples and references to the classical modernists (Berg, Messiaen, Varèse, Stockhausen, etc.) who were clearly his cultural heroes. Yet Deleuze never wrote about music with the same depth and dedication that he devoted to literature, cinema, and painting. It might seem odd, then, that, in the nine years since his suicide, Deleuze’s philosophy has come to be closely linked with music and, moreover, with a musical milieu very different from the one that he called his own. For Deleuze has become the intellectual hero of experimental “electronica”—electronic music with its roots in hip hop, house, and techno rather than in the tradition of classical modernism. This relationship was initially marked by the release, a year after Deleuze’s death, of two compilations of experimental electronica presented in his honor: Mille Plateaux’s In Memoriam Gilles Deleuze and Sub Rosa’s Folds and Rhizomes for Gilles Deleuze. Since then, the discourse around electronica has referenced Deleuze at every turn. What accounts for the curious connection between this philosophical ontologist and a music scene about which he knew little and wrote nothing? It is that Deleuze helps us to think how music might become a body without organs.