PDF Program Book
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
On the Choice of Gestural Controllers for Musical Applications: an Evaluation of the Lightning II and the Radio Baton
On the Choice of Gestural Controllers for Musical Applications: An Evaluation of the Lightning II and the Radio Baton Carmine Casciato Music Technology Area Schulich School of Music McGill University Montreal, Canada August 2007 A thesis submitted to McGill University in partial fulfillment of the requirements for the degree of Master of Arts. c 2007 Carmine Casciato and the regents of McGill University 2007 i Abstract This thesis evaluates the Lightning II and the Radio Baton gestural contollers for musical appli- cations within two main perspectives. The first involves a technical specification of each in terms of their construction and sensing technology. This step, along with an analysis of the insights by long-term users on the controllers in question, provides an understanding about the different musical contexts each controllers can be and have been used in. The second perspective involves studying the Radio Baton and the Lightning within a specific musical context, namely that of a simulated acoustic percussion instrument performance. Three expert percussionists performed basic percussion techniques on a real drum, a drum-like gestural controller (the Roland V-Drum), the Radio Baton and the Lightning II. The motion capture and audio data from these trials suggest that certain acoustic percussion playing techniques can be successfully transfered over to gestural controllers. This comparative analysis between gestural controllers adds to the ongo- ing discussion on the evaluation of digital musical instruments and their relationship to acoustic instruments. ii Resum´e Ce rapport de thse examine les contrleurs gestuels Lightning II et Radio Baton selon deux per- spectives principales. La premiere implique pour chaque contrleur une specification technique en terme de materiel et de technologie sensorielle. -
Bang on a Can Live – Vol
NWCR646 Bang on a Can Live – Vol. 2 Gary Trosclair, trumpet; Mark Stewart, electric guitar; Alan Moverman, piano and synthesizer; Tigger Benford, percussion Jeffrey Brooks 3. Composition for Two Pianos (1992) ................... (8:55) (Bang on a Can 1992) Piano Duo – Cees van Zeeland & Gerard Bouwhuis Elizabeth Brown 4. Migration – in memory of Julie Farrell (1992) .... (11:44) (Bang on a Can 1992) Elizabeth Brown, shakuhachi; Mayuki Fukuhara, violin; Sarah Clarke, viola; Theodore Mook, cello David Lang 5. The Anvil Chorus (1991) ..................................... (7:00) (Bang on a Can 1991) Steve Schick, percussion Jeffrey Mumford 6. a pond within the drifting dusk (1989) ................ (9:22) (Bang on a Can 1989) Laura Gilbert, alto flute; Joshua Gordon, cello; Victoria Drake, harp Phil Kline Shelley Hirsch/David Weinstein 7. Bachman’s Warbler (1992) ................................. (16:34) 1. Haiku Lingo (excerpt) (1990) ............................. (8:15) (Bang on a Can 1992) Phil Kline, harmonica and (Bang on a Can 1990) Shelley Hirsch, voice; boomboxes David Weinstein, electronics Total playing time: 74:53 Lois V. Vierk 2. Red Shift IV (1991) ............................................. (12:25) Ê & © 1993 Composers Recordings, Inc. (Bang on a Can 1991) A Cloud Nine Consort: © 2007 Anthology of Recorded Music, Inc. Notes Bang on a Can is among the most inclusive and hospitable of introductions are cursory, a bit nervous and wonderfully all new music festivals. Its ambiance is informal. When the illuminating—an introduction to the person, not the concept, venues allow it, audiences can come and go during annual all- behind the music. When John Cage stepped on stage to kick day marathon concerts, sit up close and listen, or casually off the 1992 edition of the festival, which began with his stand in the back with a beer or an apple cider. -
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. -
Presidency Cultural Programme in Kraków
Presidency Cultural Programme in Kraków 2011-08-23 4th “Divine Comedy” International Theatre Festival December 2011 The Divine Comedy festival is not just a competition, but also an opportunity to see the top shows by young Polish directors and the chance to compare opinions of Polish theatre with critics from all over Europe. The selection of productions is made by the most prominent Polish critics, journalists, and reviewers, while the decision on who walks away with the figurine of the Divine Comedian is made by an independent international jury. The festival is divided into three blocks. In the Inferno section – the contest for the best Polish productions of the previous season – the maestros of Polish theatre and their students compete for the award. Paradiso is the section of the festival devoted to the work of young, but already acclaimed, directors. The Purgatorio block includes accompanying events. It should be emphasised that this year the festival has changed its formula – traditionally the competition section and culmination of accompanying events fall in December, while the international section takes place all year round – every month excluding the summer holidays. Organiser: Krakow Festival Office www.boskakomedia.pl Opera Rara: A. Vivaldi – L’Oracolo in Messenia 8 December 2011 December’s performance in the Opera Rara cycle perfectly achieves the goals set by originator Filip Berkowicz when he began the project in 2009 – to present above all works which are rarely played or which have been restored to the repertoire after centuries of absence in concert halls. This will be the world première of the opera written by Antonio Vivaldi in the last years of his life, published just after his death and then lost for a very long time. -
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 -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2021). New Music: Performance Institutions and Practices. In: McPherson, G and Davidson, J (Eds.), The Oxford Handbook of Music Performance. Oxford, UK: Oxford University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/25924/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] New Music: Performance Institutions and Practices Ian Pace For publication in Gary McPherson and Jane Davidson (eds.), The Oxford Handbook of Music Performance (New York: Oxford University Press, 2021), chapter 17. Introduction At the beginning of the twentieth century concert programming had transitioned away from the mid-eighteenth century norm of varied repertoire by (mostly) living composers to become weighted more heavily towards a historical and canonical repertoire of (mostly) dead composers (Weber, 2008). -
Harry Allen Valerie Capers Linda May Han Oh Charnett Moffett
202509_HH_July_0 6/24/19 12:27 PM Page 1 The only jazz magazine THE LATIN SIDE in NY in print, online and on apps! OF HOT HOUSE P31 July 2019 www.hothousejazz.com Jazz Forum Page 10 Village Vanguard Page 10 Charnett Moffett Linda May Han Oh Valerie Capers Harry Allen Jazz at Kitano Page 17 Zinc, 75 Club and 92Y Page 21 Where To Go & Who To See Since 1982 202509_HH_July_0 6/24/19 11:39 AM Page 2 2 202509_HH_July_0 6/24/19 11:39 AM Page 3 3 202509_HH_July_0 6/24/19 11:39 AM Page 4 4 202509_HH_July_0 6/24/19 11:39 AM Page 5 5 202509_HH_July_0 6/24/19 12:26 PM Page 6 6 202509_HH_July_0 6/24/19 11:39 AM Page 7 7 202509_HH_July_0 6/24/19 11:39 AM Page 8 8 202509_HH_July_0 6/24/19 11:39 AM Page 9 9 202509_HH_July_0 6/24/19 11:39 AM Page 10 WINNING SPINS By George Kanzler WO MUSICIANS KNOWN FOR under Charnett's chant of "Free the slaves, intrepidly anchoring vibrant rhythm let 'em go." Jana contributes one composi- sectionsT over the years explore other tion to the album, "Precious Air," a song aspects of their artistry on new albums. with her own lyrics, delivered in a breathy Both Charnett Moffett and Linda May Han voice and the musical textures of folk-rock. Oh are bassists and the principal com- Linda May Han Oh's Aventurine posers on their latest releases, but for the (Biophilia), is what was called third- first time, Charnett exclusively plays fret- stream music in the mid-20th century. -
PDF Transition
! ! ! ! “FINGERS GLITTERING ABOVE A KEYBOARD:” ! THE KEYBOARD WORKS AND HYBRID CREATIVE PRACTICES OF ! TRISTAN PERICH! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! A Dissertation! Presented to the Faculty of the Graduate School! of Cornell University! in Partial Fulfillment of the Requirements for the Degree of! Doctor of Musical! Arts! ! ! by! David Benjamin Friend! May 2019! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! © 2019 David Benjamin! Friend! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! “FINGERS GLITTERING ABOVE A KEYBOARD:”! THE KEYBOARD WORKS AND HYBRID CREATIVE PRACTICES OF ! TRISTAN! PERICH! ! David Benjamin Friend, D.M.A.! Cornell University,! 2019! ! !This dissertation examines the life and work of Tristan Perich, with a focus on his works for keyboard instruments. Developing an understanding of his creative practices and a familiarity with his aesthetic entails both a review of his personal narrative as well as its intersection with relevant musical, cultural, technological, and generational discourses. This study examines relevant groupings in music, art, and technology articulated to Perich and his body of work including dorkbot and the New Music Community, a term established to describe the generationally-inflected structural shifts! in the field of contemporary music that emerged in New York City in the first several years of the twenty-first century. Perich’s one-bit electronics practice is explored, and its impact on his musical and artistic work is traced across multiple disciplines and a number of aesthetic, theoretical, and technical parameters. This dissertation also substantiates the centrality of the piano to Perich’s compositional process and to his broader aesthetic cosmology. A selection of his works for keyboard instruments are analyzed, and his unique approach to keyboard technique is contextualized in relation to traditional Minimalist piano techniques and his one-bit electronics practice." ! ! BIOGRAPHICAL! SKETCH! ! !! !David Friend (b. -
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. -
Instruments for Spatial Sound Control in Real Time Music Performances
Andreas Pysiewicz, Stefan Weinzierl Instruments for Spatial Sound Control in Real Time Music Performances. A Review Chapter in book | Accepted manuscript (Postprint) This version is available at https://doi.org/10.14279/depositonce-9008 Pysiewicz, A., & Weinzierl, S. (2016). Instruments for Spatial Sound Control in Real Time Music Performances. A Review. In: Bovermann et al. (Eds.): Musical Instruments in the 21st Century (pp. 273– 296). Springer Singapore. https://doi.org/10.1007/978-981-10-2951-6_18 Terms of Use Copyright applies. A non-exclusive, non-transferable and limited right to use is granted. This document is intended solely for personal, non-commercial use. Instruments for Spatial Sound Control in Real Time Music Performances. A Review Andreas Pysiewicz and Stefan Weinzierl Abstract The systematic arrangement of sound in space is widely considered as one important compositional design category of Western art music and acoustic media art in the 20th century. A lot of attention has been paid to the artistic concepts of sound in space and its reproduction through loudspeaker systems. Much less attention has been attracted by live-interactive practices and tools for spatialisation as performance practice. As a contribution to this topic, the current study has conducted an inventory of controllers for the real time spatialisation of sound as part of musical performances, and classi fied them both along different interface paradigms and according to their scope of spatial control. By means of a literature study, we were able to identify 31 different spatialisation interfaces presented to the public in context of artistic performances or at relevant conferences on the subject. -
The Kiom: a Paradigm for Collaborative Controller Design
The KiOm: A Paradigm for Collaborative Controller Design Ajay Kapur, Adam R. Tindale, Manjinder S. Benning, Peter F. Driessen Music Intelligence and Sound Technology Interdisciplinary Centre (MISTIC), University of Victoria [email protected], [email protected], [email protected], [email protected] Abstract Weinberg, Driscoll et al. 2005) . The challenges and This paper describes a paradigm for collaborative controller experience of these types of projects is well summarized design, implementation and artistic expression. The KiOm is an in (Blaine and Fels 2003). Our goal is to explore the inexpensive, robust, accelerometer-based wearable instrument collaborative process on a developmental angle, from used to expose many artists to the ideas and theory of computer controller design, feature selection, sound mapping music with the expansive capabilities of human computer construction and software innovation. interfaces. Novel methods for collaborative controller mapping In this paper, section 0 describes the design of the development using ChucK are described. A variety of controller. Section 0 describes the process of redesigning performance artists’ use of the KiOm is also included. the controller based on multiple user feedback, expanding features and use of the instrument. Section 0 describes a 1 Introduction novel approach to collaborative controller mapping. It is commonplace in the computer music community Section 0 describes case studies of multiple users’ for an artist to design a novel controller which only they incorporation of the controller into their own art form. themselves can use. This does not allow other artists to take advantage of the variety of data obtained from their 2 Controller Design system.