延伸》互動介面之建構與創作實踐 the Composition and Idea of the Real-Time Interactive Work `Extension’
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Wendy Reid Composer
WENDY REID COMPOSER 1326 Shattuck Avenue #2 Berkeley, California 94709 [email protected] treepieces.net EDUCATION 1982 Stanford University, CCRMA, Post-graduate study Workshop in computer-generated music with lectures by John Chowning, Max Mathews, John Pierce and Jean-Claude Risset 1978-80 Mills College, M.A. in Music Composition Composition with Terry Riley, Robert Ashley and Charles Shere Violin and chamber music with the Kronos Quartet 1975-77 Ecoles D’Art Americaines, Palais de Fontainbleau and Paris, France: Composition with Nadia Boulanger; Classes in analysis, harmony, counterpoint, composition; Solfege with assistant Annette Dieudonne 1970-75 University of Southern California, School of Performing Arts, B.M. in Music Composition, minor in Violin Performance Composition with James Hopkins, Halsey Stevens and film composer David Raksin 1 AWARDS, GRANTS, and COMMISSIONS Meet The Composer/California Meet The Composer/New York Subito Composer Grant ASMC Grant Paul Merritt Henry Award Hellman Award The Oakland Museum The Nature Company Sound/Image Unlimited Graduate Assistantship California State Scholarship Honors at Entrance USC National Merit Award Finalist National Educational Development Award Finalist Commission, Brassiosaurus (Tomita/Djil/ Heglin):Tree Piece #52 Commission, Joyce Umamoto: Tree Piece #42 Commission, Abel-Steinberg-Winant Trio: Tree Piece #41 Commission, Tom Dambly: Tree Piece #31 Commission, Mary Oliver: Tree Piece #21 Commission, Don Buchla: Tree Piece #17 Commission, William Winant: Tree Piece #10 DISCOGRAPHY LP/Cassette: TREE PIECES (FROG RECORDS,1988/ FROG PEAK) CD: TREEPIECES(FROG RECORDS, 2002/ FROGPEAK) TREE PIECES volume 2 (NIENTE, 2004 / FROGPEAK) TREE PIECE SINGLE #1: LULU VARIATIONS (NIENTE, 2009) TREE PIECE SINGLE #2: LU-SHOO FRAGMENTS (NIENTE, 2010) 2 PUBLICATIONS Scores: Tree Pieces/Frog On Rock/Game of Tree/Klee Pieces/Glass Walls/Early Works (Frogpeak Music/Sound-Image/W. -
Peter Blasser CV
Peter Blasser – [email protected] - 410 362 8364 Experience Ten years running a synthesizer business, ciat-lonbarde, with a focus on touch, gesture, and spatial expression into audio. All the while, documenting inventions and creations in digital video, audio, and still image. Disseminating this information via HTML web page design and YouTube. Leading workshops at various skill levels, through manual labor exploring how synthesizers work hand and hand with acoustics, culminating in montage of participants’ pieces. Performance as touring musician, conceptual lecturer, or anything in between. As an undergraduate, served as apprentice to guild pipe organ builders. Experience as racquetball coach. Low brass wind instrumentalist. Fluent in Java, Max/MSP, Supercollider, CSound, ProTools, C++, Sketchup, Osmond PCB, Dreamweaver, and Javascript. Education/Awards • 2002 Oberlin College, BA in Chinese, BM in TIMARA (Technology in Music and Related Arts), minors in Computer Science and Classics. • 2004 Fondation Daniel Langlois, Art and Technology Grant for the project “Shinths” • 2007 Baltimore City Grant for Artists, Craft Category • 2008 Baltimore City Grant for Community Arts Projects, Urban Gardening List of Appearances "Visiting Professor, TIMARA dep't, Environmental Studies dep't", Oberlin College, Oberlin, Ohio, Spring 2011 “Babier, piece for Dancer, Elasticity Transducer, and Max/MSP”, High Zero Festival of Experimental Improvised Music, Theatre Project, Baltimore, September 2010. "Sejayno:Cezanno (Opera)", CEZANNE FAST FORWARD. Baltimore Museum of Art, May 21, 2010. “Deerhorn Tapestry Installation”, Curators Incubator, 2009. MAP Maryland Art Place, September 15 – October 24, 2009. Curated by Shelly Blake-Pock, teachpaperless.blogspot.com “Deerhorn Micro-Cottage and Radionic Fish Drier”, Electro-Music Gathering, New Jersey, October 28-29, 2009. -
Interpretação Em Tempo Real Sobre Material Sonoro Pré-Gravado
Interpretação em tempo real sobre material sonoro pré-gravado JOÃO PEDRO MARTINS MEALHA DOS SANTOS Mestrado em Multimédia da Universidade do Porto Dissertação realizada sob a orientação do Professor José Alberto Gomes da Universidade Católica Portuguesa - Escola das Artes Julho de 2014 2 Agradecimentos Em primeiro lugar quero agradecer aos meus pais, por todo o apoio e ajuda desde sempre. Ao orientador José Alberto Gomes, um agradecimento muito especial por toda a paciência e ajuda prestada nesta dissertação. Pelo apoio, incentivo, e ajuda à Sara Esteves, Inês Santos, Manuel Molarinho, Carlos Casaleiro, Luís Salgado e todos os outros amigos que apesar de se encontraram fisicamente ausentes, estão sempre presentes. A todos, muito obrigado! 3 Resumo Esta dissertação tem como foco principal a abordagem à interpretação em tempo real sobre material sonoro pré-gravado, num contexto performativo. Neste caso particular, material sonoro é entendido como música, que consiste numa pulsação regular e definida. O objetivo desta investigação é compreender os diferentes modelos de organização referentes a esse material e, consequentemente, apresentar uma solução em forma de uma aplicação orientada para a performance ao vivo intitulada Reap. Importa referir que o material sonoro utilizado no software aqui apresentado é composto por músicas inteiras, em oposição às pequenas amostras (samples) recorrentes em muitas aplicações já existentes. No desenvolvimento da aplicação foi adotada a análise estatística de descritores aplicada ao material sonoro pré-gravado, de maneira a retirar segmentos que permitem uma nova reorganização da informação sequencial originalmente contida numa música. Através da utilização de controladores de matriz com feedback visual, o arranjo e distribuição destes segmentos são alterados e reorganizados de forma mais simplificada. -
Steven T. Kemper Department of Music | Rutgers, the State University of New Jersey 81 George St
Steven T. Kemper Department of Music | Rutgers, The State University of New Jersey 81 George St. | New Brunswick, NJ 08901 Phone: 773-677-023 [email protected] www.stevenkemper.com EDUCATION Ph.D., Music Composition and Computer Technologies, University of Virginia, December 2012 Dissertation: From Sacred Narrative to Evocations of Ancientness: Mythical meaning in contemporary music M.M., Music Composition, Bowling Green State University, August 2006 B.A., Music, Bowdoin College, May 2003 Honors in music TEACHING EXPERIENCE Assistant Professor of Music, Rutgers University, 2013-present (reappointed Spring 2016) 07:700:515: Computer Composition (Fall 2014-2017) 07:700:470: Electroacoustic Musical Instrument Design (Fall 2018) 07:700:469: Interactive Computer Music (Spring 2015, 2016, 2018) 07:700:375: Composition Practicum (Spring 2015-2016) 07:700:284: Digital Audio Composition (Spring 2014, 2015, 2018, Fall 2017, 2018) 07:700:127: Introduction to Music Technology (Spring 2014, Fall 2013) 07:700:105: Making Music with Computers: Introduction to Digital Audio (Spring 2016, Fall 2014-2016) 07:701:X76: Composition Lessons, graduate/undergraduate (Spring 2014-present) 07:701:304: Rutgers Interactive Music Ensemble (Spring 2018, Fall 2018) 01:090:101: Handmade Sound: Making sound art and music with electronics, Aresty-Byrne Seminar (Fall 2014-2018) Adjunct Faculty, University of Virginia, 2011 MUSI 3370: Songwriting (Spring 2011) Instructor, University of Virginia, 2008-2012 MUSI 1310: Basic Musical Skills, Introduction to Music Theory -
Talbertronic Festival Workshop I
◊◊ THE OBERLIN COLLEGE CONSERVATORY OF MUSIC PRESENTS ◊◊ Talbert ronic Festival March 2-4, 2017 Oberlin, Ohio Dear Friends, The writer Bill Bryson observed that “few things last for more than a generation in America.” Indeed, even in the slow-to-change world of academic institutions, it is often the case that non-traditional programs or departments come and go in a decade or two. And yet we gather this weekend in honor of John Talbert’s retirement to celebrate the sustained energy and success of the TIMARA Department as it approaches the 50th anniversary of its origins. Our longevity has a lot to do with our adaptability, and our adaptability over the past 38 years has a lot to do with John. Even as he walks out the door, John remains a step ahead, always on the lookout for new methods and technologies but also wise in his avoidance of superficial trends. Take a moment this weekend to consider the number and variety of original compositions, artworks, performances, installations, recordings, instrument designs, and other projects that John has influenced and help bring into being during his time at Oberlin. All the while, John has himself designed and built literally rooms full of unique and reliable devices that invite student and faculty artists to express themselves with sonic and visual media. Every bit of the teaching and learning that transpires each day in TIMARA is influenced by John and will continue to be for years to come. Even when he knows better (which by now is just about always), he is willing to trust his colleagues, humor us faculty and our outlandish requests, and let students make personal discoveries through experimentation. -
Editorial: Alternative Histories of Electroacoustic Music
This is a repository copy of Editorial: Alternative histories of electroacoustic music. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/119074/ Version: Accepted Version Article: Mooney, J orcid.org/0000-0002-7925-9634, Schampaert, D and Boon, T (2017) Editorial: Alternative histories of electroacoustic music. Organised Sound, 22 (02). pp. 143-149. ISSN 1355-7718 https://doi.org/10.1017/S135577181700005X This article has been published in a revised form in Organised Sound http://doi.org/10.1017/S135577181700005X. This version is free to view and download for private research and study only. Not for re-distribution, re-sale or use in derivative works. © Cambridge University Press Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ EDITORIAL: Alternative Histories of Electroacoustic Music In the more than twenty years of its existence, Organised Sound has rarely focussed on issues of history and historiography in electroacoustic music research. -
62 Years and Counting: MUSIC N and the Modular Revolution
62 Years and Counting: MUSIC N and the Modular Revolution By Brian Lindgren MUSC 7660X - History of Electronic and Computer Music Fall 2019 24 December 2019 © Copyright 2020 Brian Lindgren Abstract. MUSIC N by Max Mathews had two profound impacts in the world of music synthesis. The first was the implementation of modularity to ensure a flexibility as a tool for the user; with the introduction of the unit generator, the instrument and the compiler, composers had the building blocks to create an unlimited range of sounds. The second was the impact of this implementation in the modular analog synthesizers developed a few years later. While Jean-Claude Risset, a well known Mathews associate, asserts this, Mathews actually denies it. They both are correct in their perspectives. Introduction Over 76 years have passed since the invention of the first electronic general purpose computer,1 the ENIAC. Today, we carry computers in our pockets that can perform millions of times more calculations per second.2 With the amazing rate of change in computer technology, it's hard to imagine that any development of yesteryear could maintain a semblance of relevance today. However, in the world of music synthesis, the foundations that were laid six decades ago not only spawned a breadth of multifaceted innovation but continue to function as the bedrock of important digital applications used around the world today. Not only did a new modular approach implemented by its creator, Max Mathews, ensure that the MUSIC N lineage would continue to be useful in today’s world (in one of its descendents, Csound) but this approach also likely inspired the analog synthesizer engineers of the day, impacting their designs. -
Third Practice Electroacoustic Music Festival Department of Music, University of Richmond
University of Richmond UR Scholarship Repository Music Department Concert Programs Music 11-3-2017 Third Practice Electroacoustic Music Festival Department of Music, University of Richmond Follow this and additional works at: https://scholarship.richmond.edu/all-music-programs Part of the Music Performance Commons Recommended Citation Department of Music, University of Richmond, "Third Practice Electroacoustic Music Festival" (2017). Music Department Concert Programs. 505. https://scholarship.richmond.edu/all-music-programs/505 This Program is brought to you for free and open access by the Music at UR Scholarship Repository. It has been accepted for inclusion in Music Department Concert Programs by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. LJ --w ...~ r~ S+ if! L Christopher Chandler Acting Director WELCOME to the 2017 Third festival presents works by students Practice Electroacoustic Music Festi from schools including the University val at the University of Richmond. The of Mary Washington, University of festival continues to present a wide Richmond, University of Virginia, variety of music with technology; this Virginia Commonwealth University, year's festival includes works for tra and Virginia Tech. ditional instruments, glass harmon Festivals are collaborative affairs ica, chin, pipa, laptop orchestra, fixed that draw on the hard work, assis media, live electronics, and motion tance, and commitment of many. sensors. We are delighted to present I would like to thank my students Eighth Blackbird as ensemble-in and colleagues in the Department residence and trumpeter Sam Wells of Music for their engagement, dedi as our featured guest artist. cation, and support; the staff of the Third Practice is dedicated not Modlin Center for the Arts for their only to the promotion and creation energy, time, and encouragement; of new electroacoustic music but and the Cultural Affairs Committee also to strengthening ties within and the Music Department for finan our community. -
DSP Class III: Digital Electronic Music Concepts Overview (Part III) ADC and DAC Analog-To-Digital Conversion
TECH 350: DSP Class III: Digital Electronic Music Concepts Overview (Part III) ADC and DAC Analog-to-Digital Conversion Parameters of ADC: • Sampling Rate (fs) = rate at which analog signal is ^ captured (sampling) (in Hertz) Intensity v • Bit Depth = number of values for each digital sample (quantization) (in bits) Time -> Limitations/Issues with Sampling Distortion caused by sampling, AKA ALIASING (or foldover) How can we rectify (or at least describe) this phenomenon? Sampling (Nyquist) Theorem •Can describe the resultant frequency of aliasing via the following (rough) formula, iff input freq. > half the sampling rate && < sampling rate: resultant frequency = sampling frequency (fs) - input frequency For example, if fs = 1000Hz and the frequency of our input is at 800Hz: 1000 - 800 = 200, so resultant frequency is 200Hz (!) •Nyquist theorem = In order to be able to reconstruct a signal, the sampling frequency must be at least twice the frequency of the signal being sampled •If you want to represent frequencies up to X Hz, you need fs = 2X Hz Ideal Sampling Frequency (for audio) •What sampling rate should we use for musical applications? •This is an on-going debate. Benefits of a higher sampling rate? Drawbacks? •AES Standards: •Why 44.1kHz? Why 48kHz? Why higher (we can’t hear up there, can we?) •For 44.1kHz and 48kHz answer lies primarily within video standard considerations, actually… •44.1kHz = 22 · 32 · 52 · 72, meaning it has a ton of integer factors •>2 * 20kHz is great, as it allows us to have frequency headroom to work with, and subharmonics (and interactions of phase, etc.) up in that range are within our audible range Anti-Aliasing Filters + Phase Correction •How to fix aliasing? Add a low-pass filter set at a special cutoff frequency before we digitize the signal. -
Fifty Years of Computer Music: Ideas of the Past Speak to the Future
Fifty Years of Computer Music: Ideas of the Past Speak to the Future John Chowning1 1 CCRMA, Department of Music, Stanford University, Stanford, California 94305 [email protected] Abstract. The use of the computer to analyze and synthesize sound in two early forms, additive and FM synthesis, led to new thoughts about synthesizing sound spectra, tuning and pitch. Detached from their traditional association with the timbre of acoustic instruments, spectra become structured and associated with pitch in ways that are unique to the medium of computer music. 1 Introduction In 1957, just fifty years ago, Max Mathews introduced a wholly new means of mak- ing music. An engineer/scientist at Bell Telephone Laboratories (BTL), Max (with the support of John Pierce, who was director of research) created out of numbers and code the first music to be produced by a digital computer. It is usually the case that a fascination with some aspect of a discipline outside of one’s own will quickly con- clude with an experiment without elaboration. But in Max’s case, it was the begin- ning of a profoundly deep and consequential adventure, one which he modestly in- vited us all to join through his elegantly conceived programs, engendering tendrils that found their way into far-flung disciplines that today, 50 years later, continue to grow without end. From the very beginning Max’s use of the computer for making music was expan- sive. Synthesis, signal processing, analysis, algorithmic composition, psychoacous- tics—all were within his scope and all were expressed and described in great detail in his famous article [1] and the succession of programs MUSIC I-V.1 It is in the nature of the computer medium that detail be elevated at times to the forefront of our thinking, for unlike preceding music technologies, both acoustic and analogue, computers require us to manage detail to accomplish even the most basic steps. -
Download Chapter 264KB
Memorial Tributes: Volume 16 Copyright National Academy of Sciences. All rights reserved. Memorial Tributes: Volume 16 MAX V. MATHEWS 1926–2011 Elected in 1979 “For contributions to computer generation and analysis of meaningful sounds.” BY C. GORDON BELL MAX VERNON MATHEWS, often called the father of computer music, died on April 21, 2011, at the age of 84. At the time of his death he was serving as professor (research) emeritus at Stanford University’s Center for Computer Research in Music and Acoustics. Max was born in Columbus, Nebraska, on November 13, 1926. He attended high school in Peru, Nebraska, where his father taught physics and his mother taught biology at the state teachers college there. Peru High School was the training school for the college. This was during World War II (1943– 1944). One day when Max was a senior in high school, he simply went off to Omaha (strictly on his own volition) and enlisted in the U.S. Navy—a fortunate move because he was able to have some influence on the service to which he was assigned, and after taking the Eddy Aptitude Test, he was selected for radar school. Radar, however, was so secret, that Max was designated a “radio technician.” After basic training he was sent to Treasure Island, San Francisco, where he met Marjorie (Marj), who became his wife. After returning from the war, Max applied to the California Institute of Technology (Caltech) and to the Massachusetts Institute of Technology (MIT). On graduating with a bachelor’s degree in electrical engineering from Caltech in 1950, he went to MIT to earn a doctorate in 1954. -
MTO 20.1: Willey, Editing and Arrangement
Volume 20, Number 1, March 2014 Copyright © 2014 Society for Music Theory The Editing and Arrangement of Conlon Nancarrow’s Studies for Disklavier and Synthesizers Robert Willey NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.14.20.1/mto.14.20.1.willey.php KEYWORDS: Conlon Nancarrow, MIDI, synthesis, Disklavier ABSTRACT: Over the last three decades a number of approaches have been used to hear Conlon Nancarrow’s Studies for Player Piano in new settings. The musical information necessary to do this can be obtained from his published scores, the punching scores that reveal the planning behind the compositions, copies of the rolls, or the punched rolls themselves. The most direct method of extending the Studies is to convert them to digital format, because of the similarities between the way notes are represented on a player piano roll and in MIDI. The process of editing and arranging Nancarrow’s Studies in the MIDI environment is explained, including how piano roll dynamics are converted into MIDI velocities, and other decisions that must be made in order to perform them in a particular environment: the Yamaha Disklavier with its accompanying GM sound module. While Nancarrow approved of multi-timbral synthesis, separating the voices of his Studies and assigning them unique timbres changes the listener’s experience of the “resultant,” Tenney’s term for the fusion of multiple voices into a single polyphonic texture. Received January 2014 1. Introduction [1.1] Conlon Nancarrow’s compositional output from 1948 until his death in 1997 was primarily for the two player pianos in his studio in Mexico City.