Talbertronic Festival Workshop I
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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. -
Music 80C History and Literature of Electronic Music Tuesday/Thursday, 1-4PM Music Center 131
Music 80C History and Literature of Electronic Music Tuesday/Thursday, 1-4PM Music Center 131 Instructor: Madison Heying Email: [email protected] Office Hours: By Appointment Course Description: This course is a survey of the history and literature of electronic music. In each class we will learn about a music-making technique, composer, aesthetic movement, and the associated repertoire. Tests and Quizzes: There will be one test for this course. Students will be tested on the required listening and materials covered in lectures. To be prepared students must spend time outside class listening to required listening, and should keep track of the content of the lectures to study. Assignments and Participation: A portion of each class will be spent learning the techniques of electronic and computer music-making. Your attendance and participation in this portion of the class is imperative, since you will not necessarily be tested on the material that you learn. However, participation in the assignments and workshops will help you on the test and will provide you with some of the skills and context for your final projects. Assignment 1: Listening Assignment (Due June 30th) Assignment 2: Field Recording (Due July 12th) Final Project: The final project is the most important aspect of this course. The following descriptions are intentionally open-ended so that you can pursue a project that is of interest to you; however, it is imperative that your project must be connected to the materials discussed in class. You must do a 10-20 minute in class presentation of your project. You must meet with me at least once to discuss your paper and submit a ½ page proposal for your project. -
Computer Music
THE OXFORD HANDBOOK OF COMPUTER MUSIC Edited by ROGER T. DEAN OXFORD UNIVERSITY PRESS OXFORD UNIVERSITY PRESS Oxford University Press, Inc., publishes works that further Oxford University's objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2009 by Oxford University Press, Inc. First published as an Oxford University Press paperback ion Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data The Oxford handbook of computer music / edited by Roger T. Dean. p. cm. Includes bibliographical references and index. ISBN 978-0-19-979103-0 (alk. paper) i. Computer music—History and criticism. I. Dean, R. T. MI T 1.80.09 1009 i 1008046594 789.99 OXF tin Printed in the United Stares of America on acid-free paper CHAPTER 12 SENSOR-BASED MUSICAL INSTRUMENTS AND INTERACTIVE MUSIC ATAU TANAKA MUSICIANS, composers, and instrument builders have been fascinated by the expres- sive potential of electrical and electronic technologies since the advent of electricity itself. -
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 -
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. -
John Burnett [email protected] Multimedia Artist and Researcher
San Diego, CA John Burnett [email protected] http://johncburnett.com Multimedia Artist and Researcher Education University of California, San Diego, La Jolla, CA 2018 – Present Doctor of Philosophy in Music, anticipated 2021 Emphasis in Computer Music and Multimedia University of California, San Diego, La Jolla, CA 2016 – 2019 Master of Arts in Music Emphasis in Music Composition and Computer Music Oberlin Conservatory, Oberlin, OH 2012 – 2016 Bachelor of Music Major in Music Composition and Technology in Music and Related Arts (TIMARA) Advisors Shahrokh Yadegari, UC San Diego 2017 – Present Katharina Rosenberger, UC San Diego 2017 – 2021 Aaron Helgeson, Oberlin Conservatory 2014 – 2016 Josh Levine, Oberlin Conservatory 2012 – 2014 Professional Experience University of California, San Diego – Qualcomm Institute 2017 – Present Research Assistant Research in audio spatialization for real-time and virtual reality applications. Develops algorithms for spatialization and physical modeling. Builds virtual reality experiences spatialization technology using software such as Unreal Engine and Unity. University of California, San Diego – Qualcomm Institute 2017 – Present IDEAS Series Technical Coordinator Co-coordinator and technical adviser for the IDEAS series at the Qualcomm Institute, which hosts residencies for the development of multimedia works. 2 Oberlin Conservatory 2015 – 2016 Research Assistant Research in computer-aided composition and formalized music, development of software tools for generative score creation. Research led by Aaron Helgeson. Syndicate for the New Arts 2015 – 2016 Director of Technology, Concert Coordinator, Teacher Co-coordinator of concerts, director of technology, and music teacher for non-profit new music organization based in Cleveland, OH. Oberlin Conservatory Audio Department 2014 – 2016 Recording Engineer, Supervisor Recording, live sound, and broadcast engineer for Oberlin Conservatory productions. -
Applications in Heart Rate Variability
Data Analysis through Auditory Display: Applications in Heart Rate Variability Mark Ballora Faculty of Music McGill University, Montréal May, 2000 A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements of the degree of Doctor of Philosophy in Music © Mark Ballora, May 2000 Table of Contents Abstract......................................................................................... v Résumé ........................................................................................ vi Acknowledgements ..........................................................................vii 1. Introduction 1.1 Purpose of Study.................................................................... 1 1.2 Auditory Display.................................................................... 2 1.3 Types of Auditory Display ........................................................ 3 1.4 Heart Rate Variability.............................................................. 4 1.5 Design of the Thesis................................................................ 6 2. Survey of Related Literature 2.1 Data in Music 2.1.1 Data Music—Making Art from Information............................ 8 2.1.2 Biofeedback Music........................................................14 2.1.3 Nonlinear Dynamics in Music ...........................................16 2.1.3.1 Fractal Music...................................................16 2.1.3.2 Mapping Chaotic (and other) Data ..........................18 2.1.4 Concluding Thoughts -
Subotnick-Lillevan 2015Edit.2016
Jan. 28, 2016 Washington, DC American University: Song and Dance Feb. 4, 2016 Brooklyn, NY Interpretations at Roulette: Song and Dance April 21, 2016 Copenhagen Jazzhouse: Song and Dance April 23, 2016 Malma, Sweden CTM Festival: Song and Dance May 21, 2016 Durham, NC Moogfest: Song and Dance May 27, 2016 Detroit Trip Metal Fest: Song and Dance Sept. 27, 2016 Brooklyn, NY After 9 Evenings, Issue Project Room: Song and Dance Nov. 1, 2016 London St. John Sessions: Song and Dance Nov. 4, 2016 Berlin Ableton Loop: Song and Dance Dec 27-29, 2016 Israel Colloquium & Performances Feb. 15, 2017 Philadelphia Annenberg Center (w/Lillevan) April 22, 2017 San Francisco Buchla Memorial Festival July 20-22, 2017 NYC Lincoln Center: Crowds and Power Morton Subotnick 2015 Other Events photo credit: Adam Kissick for RECORDINGS WERGO released in June 2015 After the Butterfly The Wild Beasts http://www.schott-music.com/news/archive/show,11777.html?newsCategoryId=19 Upcoming re-releases from vinyl on WERGO Fall 2015: Axolotl, Joel Krosnick, cello A Fluttering of Wings with the Juilliard Sting Quartet Ascent into Air from Double life of Amphibians The Last Dream of the Beat for soprano, Two Celli and Ghost electronics; Featuring Joan La Barbara, soprano Upcoming Mode Records: Complete Piano Music of Morton Subotnick The Other Piano, Liquid Strata, Falling Leaves and Three Piano Preludes. Featuring SooJin Anjou, pianist Release of a K-6 online music curriculum: Morton Subotnicks Music Academy https://musicfirst.com/msma 2 TABLE OF CONTENTS PROGRAM INFO Pg 4 CONCERT LISTING AND BIOS Pg 5 CAREER HIGHLIGHTS Pg 6 PRESS PHOTOS Pg 8 AUDIO AND VIDEO LINKS Pg 13 PRESS QUOTES Pg 15 TECH RIDER Pg 19 3 PROGRAM INFO Song and Dance PROGRAM DESCRIPTION A light and sound duet utilizing musical resources from my analog recordings combined with my most recent electronic patches and techniques performed spontaneously on my hybrid Buchla 200e/Ableton Live ’instrument’, with live video animation by Lillevan. -
THE SOCIAL CONSTRUCTION of the EARLY ELECTRONIC MUSIC SYNTHESIZER Author(S): Trevor Pinch and Frank Trocco Source: Icon, Vol
International Committee for the History of Technology (ICOHTEC) THE SOCIAL CONSTRUCTION OF THE EARLY ELECTRONIC MUSIC SYNTHESIZER Author(s): Trevor Pinch and Frank Trocco Source: Icon, Vol. 4 (1998), pp. 9-31 Published by: International Committee for the History of Technology (ICOHTEC) Stable URL: http://www.jstor.org/stable/23785956 Accessed: 27-01-2018 00:41 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms International Committee for the History of Technology (ICOHTEC) is collaborating with JSTOR to digitize, preserve and extend access to Icon This content downloaded from 70.67.225.215 on Sat, 27 Jan 2018 00:41:54 UTC All use subject to http://about.jstor.org/terms THE SOCIAL CONSTRUCTION OF THE EARLY ELECTRONIC MUSIC SYNTHESIZER Trevor Pinch and Frank Troceo In this paper we examine the sociological history of the Moog and Buchla music synthesizers. These electronic instruments were developed in the mid-1960s. We demonstrate how relevant social groups exerted influence on the configuration of synthesizer construction. In the beginning, the synthesizer was a piece of technology that could be designed in a variety of ways. Despite this interpretative flexibility in its design, it stabilised as a keyboard instrument. -
Other Minds in Association with the Berkeley Art
OTHER MINDS IN ASSOCIATION WITH THE BERKELEY ART MUSEUM/ PACIFIC FILM ARCHIVE & THE MISSION DOLORES BASILICA PRESENTS OTHER MINDS FESTIVAL 22 FEBRUARY 18, 19 & MAY 20, 2017 MISSION DOLORES BASILICA, SAN FRANCISCO & BERKELEY ART MUSEUM/PACIFIC FILM ARCHIVE, BERKELEY 2 O WELCOME FESTIVAL TO OTHER MINDS 22 OF NEW MUSIC The 22nd Other Minds Festival is present- 4 Message from the Artistic Director ed by Other Minds in association with the 8 Lou Harrison Berkeley Art Museum/Pacific Film Archive & the Mission Dolores Basilica 9 In the Composer’s Words 10 Isang Yun 11 Isang Yun on Composition 12 Concert 1 15 Featured Artists 23 Film Presentation 24 Concert 2 29 Featured Artists 35 Timeline of the Life of Lou Harrison 38 Other Minds Staff Bios 41 About the Festival 42 Festival Supporters: A Gathering of Other Minds 46 About Other Minds This booklet © 2017 Other Minds, All rights reserved 3 MESSAGE FROM THE EXECUTIVE DIRECTOR WELCOME TO A SPECIAL EDITION OF THE OTHER MINDS FESTIVAL— A TRIBUTE TO ONE OF THE MOST GIFTED AND INSPIRING FIGURES IN THE HISTORY OF AMERICAN CLASSICAL MUSIC, LOU HARRISON. This is Harrison’s centennial year—he was born May 14, 1917—and in addition to our own concerts of his music, we have launched a website detailing all the other Harrison fêtes scheduled in his hon- or. We’re pleased to say that there will be many opportunities to hear his music live this year, and you can find them all at otherminds.org/lou100/. Visit there also to find our curated compendium of Internet links to his work online, photographs, videos, films and recordings. -
Virtual Analog Buchla 259 Wavefolder
This is an electronic reprint of the original article. This reprint may differ from the original in pagination and typographic detail. Author(s): Fabián Esqueda, Henri Pöntynen, Vesa Välimäki, Julian D. Parker Title: Virtual analog Buchla 259 wavefolder Year: 2017 Version: Final published version Please cite the original version: Fabián Esqueda, Henri Pöntynen, Vesa Välimäki, Julian D. Parker. Virtual analog Buchla 259 wavefolder. In Proceedings of the 20th International Conference on Digital Audio Effects (DAFx-17), Edinburgh, UK, pp. 192-199, September 2017. http://www.dafx.de/ Rights: © 2017 Authors. Reprinted with permission. This publication is included in the electronic version of the article dissertation: Esqueda, Fabián. Aliasing Reduction in Nonlinear Audio Signal Processing. Aalto University publication series DOCTORAL DISSERTATIONS, 74/2018. All material supplied via Aaltodoc is protected by copyright and other intellectual property rights, and duplication or sale of all or part of any of the repository collections is not permitted, except that material may be duplicated by you for your research use or educational purposes in electronic or print form. You must obtain permission for any other use. Electronic or print copies may not be offered, whether for sale or otherwise to anyone who is not an authorised user. Powered by TCPDF (www.tcpdf.org) Proceedings of the 20th International Conference on Digital Audio Effects (DAFx-17), Edinburgh, UK, September 5–9, 2017 VIRTUAL ANALOG BUCHLA 259 WAVEFOLDER Fabián Esqueda, Henri Pöntynen,