Timothy Nohe Artist – Composer | Born 18 October 1960 Resume: 2000-2010

Total Page:16

File Type:pdf, Size:1020Kb

Load more

Timothy Nohe Artist – Composer | Born 18 October 1960 Resume: 2000-2010 Associate Professor Faculty Senate President (2011 – present) Granted tenure as an Associate Professor, June 2003 University of Maryland, Baltimore County, Department of Visual Arts FA 111, 1000 Hilltop Circle, Baltimore, Maryland USA 21250 Adjunct Professor Faculty of Humanities and Social Sciences La Trobe University, Melbourne, Victoria, Australia 3086 Associate Centre for Media Arts Innovation, University of Technology Sydney PO Box 123 Broadway, Sydney, New South Wales, Australia 2007 Email: [email protected] | Cell: + 1 410.412.6483 | Fax: 410.455.1053 http://mtod.tumblr.com/ | http://userpages.umbc.edu/~nohe/GAG/ Education: MFA 1996 University of California, San Diego, Visual Arts, terminal degree BFA 1989 Maryland Institute, College of Art, Photography Research Support: Residencies, Grants and Fellowships: 2012 Artist in Residence, Visual Arts Centre, La Trobe University, invited by Paul Northam, Director, July 9 – August 2, Bendigo, Victoria, Australia Artist in Residence, Centre for Creative Arts, La Trobe University, invited by Norie Neumark, Director, July 5 – 8, and August 3 – 8, Bundoora, Victoria, Australia Individual Artist Award: Music Composition – Non-Classical, $3000, Maryland State Arts Council Research Assistant, 10 hours per week position, “La Trobe University-UMBC Artist Exchange Network,” granted by UMBC Department of Visual Arts, IMDA MFA Program 2011 National Endowment for the Arts, and the William G. Baker, Jr. Memorial Fund, “Our Town Project - Creative Placemaking Grant,” Station North Arts & Entertainment District “Think Big” grant. Funding for My Station North, $2,000 Fulbright Alumni Initiative Grant, Australian – American Fulbright Commission, La Trobe University – UMBC Artists Exchange, $10,000 Summer Faculty Fellowship, College of Arts, Humanities and Social Sciences, La Trobe University – UMBC Artists Exchange, $5,000, UMBC Timothy Nohe CV, Page 1 July, 2012 Artist in Residence, Visual Arts Centre, La Trobe University, invited by Paul Northam, Director, August 8-21, Bendigo, Victoria, Australia Artist in Residence, Hazelhurst Gallery and Art Centre, invited by Michael Rolfe, Director, August 3-8, Sutherland Shire, Sydney, Australia 2010 Artist in Residence, Hazelhurst Gallery and Art Centre, invited by Michael Rolfe, Director, August 3-21, Sutherland Shire, Sydney, Australia SRAIS Award, Sounding Botany Bay, Sounding Gamay, $7,335, UMBC Individual Artist Award in Visual Arts: Media, $3000, Maryland State Arts Council 2009 Artist in Residence, Hazelhurst Gallery and Art Centre, invited by Michael Rolfe, Director, August 6-21, Sutherland Shire, Sydney, Australia Parks and People Foundation, Neighborhood Greening Grant, $1,000, Gourd Season Undergraduate Research Assistant Student Award, 1 academic year, Gourd Season pilot, Alex Geiger, undergraduate student, Office of the Provost, UMBC IRC Fellows Faculty Course Development Stipend, $2000, Faculty Development, Imaging Research Center, The Crystal Egg, UMBC 2008 Artist in Residence, Hazelhurst Gallery and Art Centre, invited by Michael Rolfe, Director, January 5-25, Sutherland Shire, Sydney, Australia Creative Baltimore Grant, $1,000, Baltimore Office of Promotion and the Arts 2007 Artist in Residence, University of Wollongong, Faculty of Creative Arts, School of Art & Design, School of Music, invited by Professors Houston Dunleavy and Jacky Redgate, January 1 – July 25, Wollongong, NSW, Australia 2006 Fulbright Senior Scholar award, granted by the Board of the Australian-American Fulbright Commission, $36,000 School of Art & Design, University of Wollongong, NSW, Australia 2005 Individual Artist Award in Visual Arts: Installation/Sculpture, $6000, Maryland State Arts Council Artist in Residence, Imaging Research Center, W-47 2004 Individual Artist Award in Visual Arts: New Genre, $1000, Maryland State Arts Council Artist’s Stipend, $1500, Eastern State Penitentiary, Philadelphia, PA, 142 Ways to Mark Time, April 1 - November 15 Artist in Residence, Imaging Research Center, W-47, research assistants Timothy Nohe CV, Page 2 July, 2012 2003 Artists in the National Parks Residency, Caldera, Deschutes National Forest, Sisters, OR, January 6 – 24, 2003, residency and $500 travel stipend IRC Fellows Faculty Course Development Stipend, $2000, Faculty Development, Imaging Research Center, *blink* and body/text, UMBC 2002 Residency, The Center for Land Use Interpretation, Wendover, Utah Designated Research Initiative Fund, SRIS, $8400, W-47, UMBC Individual Artist Award in Visual Arts: New Genre, $3000, Maryland State Arts Council Cleveland Institute of Art, $1400, Cleveland, OH, artist’s presentation and critiques 2001 Artists in the National Parks Residency, Crater Lake National Park and the Schneider Museum of Art, Crater Lake and Ashland, OR Mayor’s Advisory Council on Art and Culture, Baltimore, $700, Artscape commission, Binary, sculpture Summer Faculty Fellowship, Office of the Dean of Arts and Sciences, $1500, Program Development, IMDA MFA Program, UMBC 2000 University of Southern California, Digital Art and Digital Animation program, $2500, artist’s presentation and critiques The Contemporary Museum, $500, award, “Video Art 2000” small science, screening Summer Stipend, Office of the Dean of Arts and Sciences, $1500, Program Development, IMDA MFA Program, UMBC Honors Received: 2012 Governor’s Citation, granted by Governor Martin O’Malley, recipient Maryland State Arts Council Individual Artist Award: Music Composition, Non-Classical 2010 Governor’s Citation, granted by Governor Martin O’Malley, recipient Maryland State Arts Council Individual Artist Award: Media 2006 Fulbright Senior Scholar, granted by the Australian-American Fulbright Commission, Canberra, ACT and the Council for the International Exchange of Scholars, Fulbright Commission, Washington, DC 2005 Governor’s Citation, granted by Lt. Governor Michael S. Steele, recipient Maryland State Arts Council Individual Artist Award: Installation/Sculpture 2004 Governor’s Citation, granted by Lt. Governor Michael S. Steele, June 8, recipient Maryland State Arts Council Individual Artist Award: New Genre Timothy Nohe CV, Page 3 July, 2012 2002 Governor’s Citation, granted by Governor Parris N. Glendening, June 4, recipient Maryland State Arts Council Individual Artist Award: New Genre Sound Scores and Video for Dance and Performance: 2011 Candles for Faust and People as Verbs, HD videos with stereo soundscores, at the in/flux gallery, 307 West Baltimore Street, from November 5 – 26 Ashes, Ashes, a classical concert work composed for The National Capital Area Chapter of the Fulbright Association's Commemoration of the 10th Anniversary of the 9/11 tragedy: “9/11 Retrospective 10 Years Later; What Does It Mean?” Sunday, September 11, 4:00pm – 5:30pm at Christ Lutheran Church Inner Harbor, 701 S. Charles Street, Baltimore, invited by Hollis Thoms. Ashes, Ashes featured mezzo- soprano Diane Schaming, flutist Lisa Cella, and percussionist Andy Hayleck. Nohe sequenced the score on computer for waterphone, bowed guitar, media samples, and synthesis, and performed waterphone and water instruments. People Who Became Verbs, 38 minute stereo soundscore, Theatre Project, Baltimore, June 10 and 11. Reneé Brozic Barger choreographer. Composed and performed for sampled business machines, waterphone, ebow electric guitar, bowed acoustic guitar, hand-made electronic circuits, wine glasses, friction percussion, and wavetable synthesis. 2011 30 Oaks, Joseph Beuys Sculpture Garden, UMBC, Baltimore. Choreographed by /10 Meghan Flanigan. Nohe: musical direction for baritone saxophone, tenor saxophone, percussion. Nohe made percussion instruments fashioned from recycled university rubbish. Performed April 28, 2011 and October 21, 2010 Bend, Oxfringe Festival, Burton Taylor Theatre, Oxford, Oxfordshire, UK. Choreographed by Renée Brozic-Barger. Electro-acoustic sound composition, Nohe. Performed March 31 – April 4, 2010 2009 The Crystal Egg, December 2-5, 10-13, electro-acoustic sound score for an adaptation of H.G. Wells’ “The Crystal Egg,” directed by Colette Searls. The Crystal Egg featured 3 computer graphic creatures designed at UMBC’s Imaging Research Center that came to life and engaged puppets in real time. Nohe: CGI director and composer, sequencing, and performance on wavetable synthesizer, organ pipes, wine glasses, e- bowed guitar, waterphone, granular synthesis processing, field recordings. Presented at the UMBC Theater AREA 405 Circuit, June 26 & 27, AREA 405, Quad Ruled, debut, choreographed by Renée Brozic Barger. Nohe: prepared electric bass, prepared acoustic guitar, e-bow, waterphone, percussion. Liquid Measure, debut, choreographed by Carol Hess. Nohe: Sequencing and varations on music by J.S. Bach. Rd E3, choreographed by Lauren Withhart. Nohe: ebowed electric guitar, samples, AM radio, waterphone, Nick Prevas: percussion, guitar, and toys Timothy Nohe CV, Page 4 July, 2012 2008 Baltimore Dance Project, February 7, 8 and 9, Echoes, electro-acoustic dance score for Doug Hamby's work of choreography. Nohe: computer granular synthesis, acoustic instruments, samples 2007 Sounding Botany Bay an electro-acoustic score interweaving documentary elements and live instruments was curated by Jamie Allen, and presented at "Tranzducer," LEMURplex, Brooklyn, July 27 Incised Lines, a visual score for Percy Grainger's "Electric Eye Tone Tool" live concert recording broadcast Saturday June 23, 2007, Australian Broadcast Corporation,
Recommended publications
  • Magpick: an Augmented Guitar Pick for Nuanced Control

    Magpick: an Augmented Guitar Pick for Nuanced Control

    Magpick: an Augmented Guitar Pick for Nuanced Control Fabio Morreale Andrea Guidi Andrew McPherson Creative Arts and Industries Centre For Digital Music Centre For Digital Music University of Auckland, Queen Mary University of Queen Mary University of New Zealand London, UK London, UK [email protected] [email protected] [email protected] ABSTRACT This paper introduces the Magpick, an augmented pick for electric guitar that uses electromagnetic induction to sense the motion of the pick with respect to the permanent mag- nets in the guitar pickup. The Magpick provides the gui- tarist with nuanced control of the sound that coexists with traditional plucking-hand technique. The paper presents three ways that the signal from the pick can modulate the guitar sound, followed by a case study of its use in which 11 guitarists tested the Magpick for five days and composed a piece with it. Reflecting on their comments and experi- Figure 1: The Magpick is composed of two parts: a ences, we outline the innovative features of this technology hollow body (black) and a cap (brass). from the point of view of performance practice. In partic- ular, compared to other augmentations, the high tempo- ral resolution, low latency, and large dynamic range of the The challenge is to find ways to sense the movement of Magpick support a highly nuanced control over the sound. the pick with respect to the guitar with high resolution, Our discussion highlights the utility of having the locus of high dynamic range, and low latency, then use the resulting augmentation coincide with the locus of interaction.
  • Guitar Resonator GR-Junior II

    Guitar Resonator GR-Junior II

    Guitar Resonator GR-Junior II User Manual Copyright © by Vibesware, all rights reserved. www.vibesware.com Rev. 1.0 Contents 1 Introduction ...............................................................................................1 1.1 How does it work ? ...............................................................................1 1.2 Differences to the EBow and well known Sustainers ............................2 2 Fields of application .................................................................................3 2.1 Feedback playing everywhere / composing / recording ........................3 2.2 On stage ...............................................................................................3 2.3 New ways of playing .............................................................................4 3 Start-Up of the GR-Junior .........................................................................5 4 Playing techniques ...................................................................................5 4.1 Basics ...................................................................................................5 4.2 Harmonics control by positioning the Resonator ...................................6 4.3 Changing harmonics by phase shifting .................................................6 4.4 Some string vibration basics .................................................................6 4.5 Feedback of multiple strings .................................................................9 4.6 Limits of playing, pickup selection,
  • Player's Guide

    Player's Guide

    Player’s Guide Contents Imitations Flute...................................................................................6 Introduction Cello ..................................................................................6 Horn ...................................................................................6 How the EBow Works ........................................................2 Harmonica .........................................................................6 Opening Tips .....................................................................2 Energy Slide ......................................................................6 Switch Positions ................................................................2 Distortion Pick....................................................................6 How to Hold the EBow.......................................................2 How to Position the EBow .................................................2 Other Grips Methods of Control Reverse Grip .....................................................................7 Thumb Grip........................................................................7 String Activation .................................................................3 Finger Grip.........................................................................7 Gliding ...............................................................................3 Pressing.............................................................................3 Review Tilting .................................................................................4
  • BOSS GT-3 FAQ Table of Contents

    BOSS GT-3 FAQ Table of Contents

    BOSS GT-3 FAQ Table of Contents Questions from Prospective Owners Q: What type of guitar works best with the GT-3? What type of pickups? Q: What kind of Amp works best with the GT-3? Q: Where can I hear examples of the GT-3? Q: How does GT3 Compare against POD? Q: How does GT3 Compare against RP-7? Q: How does GT3 Compare against RP-14D? Q: What are differences between GT-3 and GT-5? Q: Can I use the pedals to turn individual effects on and off (manual mode)? Q: Can I use the GT-3 with my electro/acoustic? Q: Where can I get the best price on GT-3? General Questions Q: Does anyone know if there are ROM? upgrades available for the GT-3? What is the latest chip version and how would I check what version mine is? Q: What PC software is available for the GT-3? Q: What MAC software is available for the GT-3? Q: Where can I get good patches? Q: Where can I upload patches? Q: Can I use GT-5 patches? Q: What should I use for a gig bag or case? Q: What is the deal with Brass Eagle Paintball Case? Q: What is Manual Mode? Q: Is there a way I can get the GT-3 to work like stompboxes, so that each of the pedals will control an effect? Q: In Manual mode, is it only possible to have one set of pedal assignments for all patches? Connections Q: How do I hook this thing up to my amp? Q: How do I hook up to a computer (for recording)? Q: How do I hook this up to a computer (for patch download)? Q: What kind of cable do I need for MIDI? Where can I find one? Q: What is the 4 cable method? What is the 5 cable method? What is the difference? Q: How do I hook up an external stompbox in the OD/DS loop? BOSS GT-3 FAQ Rev.
  • Sonic Screwdriver’, Meant for Implementation in Iterations of Daniël Maalman’S Lost & Found Orchestra Sound Art Installations

    Sonic Screwdriver’, Meant for Implementation in Iterations of Daniël Maalman’S Lost & Found Orchestra Sound Art Installations

    Abstract This thesis showcases the development process of a tool for achieving a sustained, non-percussive sound that captures the sonic essence of ceramic objects, a so-called ‘sonic screwdriver’, meant for implementation in iterations of Daniël Maalman’s Lost & Found Orchestra sound art installations. The tool is meant to use a different way of sound excitation than Maalman’s conventional method of simply tapping objects with cores of solenoids. This is done by means of creating an audio feedback loop on the surface of the objects, which allows the objects speak in their own voice by using its resonant frequencies in an audio feedback loop. The audio feedback loop is composed of a contact microphone, a surface transducer and an audio amplifier. The system achieves accurate pitch control of the audio feedback at the resonant frequencies of an object by means of a control signal being input into the audio feedback loop via a second surface transducer. The developed solution can be used as a powerful tool in the creation of many types of sound art. 1 Quinten Tenger | Creative Technology | University of Twente | 2019 Acknowledgements First of all, I would like to thank Daniël Maalman for giving me the opportunity to work on this project, inspiring me with his way of working and being available to answer questions day and night. It has been a truly interesting and rewarding challenge. Furthermore, I would like to thank Edwin Dertien for helping me stay on track in times of confusion and frustration and his continuous support and guidance, as well as Erik Faber’s.
  • Implement a Chorus Effect in a Real-Time Embedded System

    Implement a Chorus Effect in a Real-Time Embedded System

    Universitat Polit`ecnicade Catalunya (UPC) Escola T`ecnicaSuperior d'Enginyeria de Telecomunicaci´ode Barcelona (ETSETB) Implement a chorus effect in a real-time embedded system by Gerard Amposta Boquera Advisor: Asunci´onMoreno Bilbao Barcelona, September 2016 \I was left with an urge to make the guitar sound like things it shouldn't be able to sound like." Adrian Belew (1949 - ) Universitat Polit`ecnicade Catalunya (UPC) Abstract Escola T`ecnicaSuperior d'Enginyeria de Telecomunicaci´ode Barcelona (ETSETB) Departament de Teoria del Senyal i Comunicacions by Gerard Amposta Boquera An implementation of a chorus effect in an embedded device has been devised. Some objective and subjective qualities of this implementation have been analyzed, with the purpose of being tested for their adequacy for usage in the music industry. These qualities include, but are not limited to: maximum delay, number of delayed copies of the original signal, waveshape of the signal modulating the delay, dependency of parameters of the modulating signal from parameters from the input signal, adaptability of the architecture to accommodate further effects without increasing significantly resources usage. It is encountered that a scientific approach to this study has either not been taken, or the results of this research are privately held, therefore being adequate to start this research for the public interest. The system has been implemented in a dsPIC33FJ256GP506 digital signal controller using a standard development board, and results show that this is a promising approach that could be industrializable using audio-grade components for the analog stages and a slightly more powerful DSC. Acknowledgements When my family and friends finally managed to overcome my stubbornness and con- vinced me to put it together and write this thesis, I knew what I was heading into was though.
  • Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968

    COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright The Electric Guitar in Contemporary Art Music Zane Mackie Banks A thesis submitted in fulfilment of requirements for the degree of Doctor of Philosophy Sydney Conservatorium of Music Sydney University 2013 Statement of Originality I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Signed: …………………………………………………………………………… Date: ………………………………………………………………………………. Abstract Since 1950 the electric guitar has occupied an ever-increasing presence in contemporary art music both as a solo and chamber instrument.
  • Exploring Tandem Performance Through New Instrument Design and Implementation

    Exploring Tandem Performance Through New Instrument Design and Implementation

    California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 5-2021 Captain and Stoker: Exploring Tandem Performance Through New Instrument Design and Implementation Matthew Spady Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Part of the Music Performance Commons, Music Practice Commons, and the Other Music Commons This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. California State University, Monterey Bay Captain and Stoker Exploring Tandem Performance Through New Instrument Design and Implementation Matthew Spady MPA 475: Senior Capstone Lanier Sammons 4th March 2021 Spady 1 Since the widespread adoption of electric instruments (most notably guitars) in the early 1950s, many players have enjoyed tailoring their sound by carefully selecting transducers, amplifiers, and standalone effects units. Typically, the instrumentalists whose sound these devices affect manage their acquisition, installation, and operation themselves, with many modern amplifiers and effects units offering hands-free control to facilitate this approach. Some players, however, seek other performers to manipulate said devices. In doing so, they create a scenario where two performers operate discrete pieces of equipment to achieve a single, sounding result. Performances that involve this sort of cooperation are tandem; each player’s actions depend on the other’s to be heard, with the auxiliary performer’s work immediately following the primary’s preparation.
  • Brochure 20.Cdr

    Brochure 20.Cdr

    Plus Features > Two Modes of Play > Great New Tone > Killer Harmonic Setting > Smooth Envelope Control > Instant Response > Easy Arpeggios > Cool Blue LED Direct String What a Concept The Test of Time Synthesis The EBow is a totally unique guitar Since 1976, the EBow has been making The principle is simple: a focused accessory. It's not just an effect like the many music. Groups such as U2, Blondie, Elton feedback loop directed at a single string. plug-in devices on the market. The EBow John, Van Halen, Phil Collins, Queen, REO This produces a powerful, infinite sustain, does its work on the string itself by producing Speedwagon, David Bowie and Blue Oyster rich in harmonics for incredible guitar an energy field that can vibrate and sustain Cult have thrilled their listeners with the sounds. It's similar to amplifier feedback but your guitar string for days, but infinite sustain sounds of the EBow. More recently, groups with greater control and predictability, at any is just the beginning. such as Pearl Jam, Kings X, R.E.M. and volume, even through headphones. Powered by a 9 volt battery, the EBow is Smashing Pumpkins have taken up the Complete control over attack, decay and held in place of your pick, giving you instant cause. The applications for the EBow are dynamics, as well as a whole new range of access to violin, cello, flute and horn sounds diverse. Buddy Emmons uses his on steel tones and textures, make the EBow one of as well as unique sounds of its own. The guitar.
  • Bolder FREE V1

    Bolder FREE V1

    FreeLibraries Volume 1 Owner’s Manual Music Workstation Overview Welcome to the first volume of free sound libraries from Bolder Sounds for the Korg KRONOS Music Workstation. This collection of 16 sample libraries has been chosen from 20 years of complimentary offerings in various formats from the Bolder Sounds website. Some of the free libraries are small tastes of larger retail libraries, these are noted with the word (demo) next to the title. Library titles are as follows - • Harmonica and Riffs • Toy Piano • 2 Music Boxes • Granular Kitchen • Bavarian Zither (demo) • Saxinet • Button Accordion • Melody Maker • Psaltery • 4 African Marimbas • Ebowed Guitar FX • Meditation Bowls (demo) • Tibetan Bowls (demo) • Granular Slate Rocks • Granular Gardening Throughout the bank the program material evolves from more traditional instruments to more experimental sounds featuring granular synthesis. Program List Program Name Program Name U-G000 Harmonica SW1=Samp.Vib U-G028 Afric. Marimba Oct/Layer U-G001 Harmonica VS Bend U-G029 Afric. Mar C4 split U-G002 Harmonica VS Riffs U-G030 Afric. Mar C3 split U-G003 Harmonica JS+Y=Bends U-G031 Afric. Mar C5 split U-G004 Harmonica JS+Y=Riffs U-G032 Bowed E. Guitar 1 U-G005 Toy Piano U-G033 Bowed E. Guitar 2 U-G006 Late Toy Piano U-G034 Bowed E. Guitar 3 U-G007 Tuned Toy Piano U-G035 Bowed E. Guitar 4 U-G008 Music Box U-G036 Bowed E. Guitar 5 U-G009 DIY Music Box U-G037 Bowed E. Guitar Split 1 U-G010 Music Box Layer U-G038 Bowed E. Guitar Split 2 U-G011 Music Box OCT U-G039 Bowed E.
  • Applications of Feedback Control to Musical Instrument Design

    Applications of Feedback Control to Musical Instrument Design

    APPLICATIONS OF FEEDBACK CONTROL TO MUSICAL INSTRUMENT DESIGN A DISSERTATION SUBMITTED TO THE DEPARTMENT OF ELECTRICAL ENGINEERING AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Edgar Joseph Berdahl December 2009 © 2010 by Edgar Joseph Berdahl. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial-No Derivative Works 3.0 United States License. http://creativecommons.org/licenses/by-nc-nd/3.0/us/ This dissertation is online at: http://purl.stanford.edu/pb603fs3989 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Julius Smith, III, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Gunter Niemeyer I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. J Salisbury, Jr Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format. An original signed hard copy of the signature page is on file in University Archives. iii iv Preface In 1963, Max Mathews wrote that the \numbers which a modern digital computer generates can be directly converted to sound waves.
  • An Exploration of Peg Solitaire As a Compositional Tool

    An Exploration of Peg Solitaire As a Compositional Tool

    Proceedings of the International Conference on New Interfaces for Musical Expression An Exploration of Peg Solitaire as a Compositional Tool Kirsty Keatch Department of Music University of Edinburgh Alison House 12 Nicolson Square Edinburgh EH8 9DF [email protected] ABSTRACT pieces such as Lacrosse (1976) and Cobra (1984). The Sounds of Solitaire is a novel interface for musical expression application of the game format, in Sounds of Solitaire, is useful based on an extended peg solitaire board as a generator of live in structuring musical experiences where a playful approach is musical composition. The classic puzzle game, for one person, taken to composition, by way of interaction with the is extended by mapping the moves of the game through a self musical material provided. contained system using Arduino and Raspberry Pi, triggering both analogue and digital sound. The solitaire board, as 2.1 Peg Solitaire instrument, is presented as a wood and Perspex box with the Peg Solitaire has been a popular game for a single player for hardware inside. Ball bearings function as both solitaire pegs centuries (see Figure 1). The object of the game is to begin with and switches, while a purpose built solenoid controlled a peg in each of the 33 holes, except the centre, and then, by monochord and ball bearing run provide the analogue sound making a series of leapfrog style moves, the peg that is jumped source, which is digitally manipulated in real-time, according to over is removed until the situation is reduced to a single peg in the sequences of game moves.