Application Simon Fraser U

Audiovisual Examples

Deep Map #1

This piece is illustrative of my approach to audiovisual composition and in particular of a technique I am developing: “deep mapping”. I define deep mapping as a way of, first, identifying salient features of a composition and, secondly, making sure that those features are available for multimedia rendering in a way that can be efficiently and intuitively rendered. In other words deep mapping is an approach that allows the composer to store and render musical data into visuals by “catching” the data at its source, at a compositional stage. The advantages of this approach are: accuracy and discreteness in the representation of musical features; computational efficiency; and, more abstractly, the stimulation of a practice of audiovisual composition that encourages composers to envision their multimedia output from the early stages of their work. The drawbacks are: prerecorded sounds cannot be deep-mapped; deep mapping presupposes an algorithmic compositional approach. 

Cuachemar sur Cire

This is an excerpt from an audiovisual installation that implements multiple point lights and musical “glitches”

Instrumental/Electroacoustic

Locked In

Marimba and live electronics, to be performed by I-Jen Fang at UVA’s Technosonics Festival (02/13/20)

Score Locked In

Variazioni Su AlDoClEmenti

Chamber orchestra written using generative algorithms designed in OpenMusic.

Score Variazioni

First Movement: Invenzione

He-li-Be-B

Saxophone quartet performed by the Radnofski Quartet

Boron (IV Movement)

Score He-Li-Be-B

Projects

Group Flow: interactive meditation

Recently I have joined forces with the Consciousness Hacking team of Mikey Seigel to work on Group Flow. I developed some sonification patches mostly with granular techniques

CINC: Computer Interface for Neuro Composition

Presentation at Massachusetts Institute of Technology

Instructional videos

Application UT Rio Grande Valley

Audiovisual Examples

Deep Map #1

This piece is illustrative of my approach to audiovisual composition and in particular of a technique I am developing: “deep mapping”. I define deep mapping as a way of, first, identifying salient features of a composition and, secondly, making sure that those features are available for multimedia rendering in a way that can be efficiently and intuitively rendered. In other words deep mapping is an approach that allows the composer to store and render musical data into visuals by “catching” the data at its source, at a compositional stage. The advantages of this approach are: accuracy and discreteness in the representation of musical features; computational efficiency; and, more abstractly, the stimulation of a practice of audiovisual composition that encourages composers to envision their multimedia output from the early stages of their work. The drawbacks are: prerecorded sounds cannot be deep-mapped; deep mapping presupposes an algorithmic compositional approach. 

Cuachemar sur Cire

This is an excerpt from an audiovisual installation that implements multiple point lights and musical “glitches”

Instrumental/Electroacoustic

Locked In

Marimba and live electronics, to be performed by I-Jen Fang at UVA’s Technosonics Festival (02/13/20)

Score Locked In

Variazioni Su AlDoClEmenti

Chamber orchestra written using generative algorithms designed in OpenMusic.

Score Variazioni

First Movement: Invenzione

He-li-Be-B

Saxophone quartet performed by the Radnofski Quartet

Boron (IV Movement)

Score He-Li-Be-B

Application UVA

Audiovisual Examples

Deep Map #1

This piece is illustrative of my approach to audiovisual composition and in particular of a technique I am developing: “deep mapping”. I define deep mapping as a way of, first, identifying salient features of a composition and, secondly, making sure that those features are available for multimedia rendering in a way that can be efficiently and intuitively rendered. In other words deep mapping is an approach that allows the composer to store and render musical data into visuals by “catching” the data at its source, at a compositional stage. The advantages of this approach are: accuracy and discreteness in the representation of musical features; computational efficiency; and, more abstractly, the stimulation of a practice of audiovisual composition that encourages composers to envision their multimedia output from the early stages of their work. The drawbacks are: prerecorded sounds cannot be deep-mapped; deep mapping presupposes an algorithmic compositional approach. 

Cuachemar sur Cire

This is an excerpt from an audiovisual installation that implements multiple point lights and musical “glitches”

Instrumental/Electroacoustic

Locked In

Marimba and live electronics, to be performed by I-Jen Fang at UVA’s Technosonics Festival (02/13/20)

Score Locked In

Variazioni Su AlDoClEmenti

Chamber orchestra written using generative algorithms designed in OpenMusic.

Score Variazioni

First Movement: Invenzione

He-li-Be-B

Saxophone quartet performed by the Radnofski Quartet

Boron (IV Movement)

Score He-Li-Be-B

Application UT @ Austin

Audiovisual Examples

Deep Map #1

This piece is illustrative of my approach to audiovisual composition and in particular of a technique I am developing: “deep mapping”. I define deep mapping as a way of, first, identifying salient features of a composition and, secondly, making sure that those features are available for multimedia rendering in a way that can be efficiently and intuitively rendered. In other words deep mapping is an approach that allows the composer to store and render musical data into visuals by “catching” the data at its source, at a compositional stage. The advantages of this approach are: accuracy and discreteness in the representation of musical features; computational efficiency; and, more abstractly, the stimulation of a practice of audiovisual composition that encourages composers to envision their multimedia output from the early stages of their work. The drawbacks are: prerecorded sounds cannot be deep-mapped; deep mapping presupposes an algorithmic compositional approach. 

Cuachemar sur Cire

This is an excerpt from an audiovisual installation that implements multiple point lights and musical “glitches”

Instrumental/Electroacoustic

Locked In

Marimba and live electronics, to be performed by I-Jen Fang at UVA’s Technosonics Festival (02/13/20)

Score Locked In

Variazioni Su AlDoClEmenti

Chamber orchestra written using generative algorithms designed in OpenMusic.

Score Variazioni

First Movement: Invenzione

He-li-Be-B

Saxophone quartet performed by the Radnofski Quartet

Boron (IV Movement)

Score He-Li-Be-B

Application Peabody Institute

Acoustic Music

Acoustic sample 1

Variazioni Su AlDoClEmenti is a piece for chamber orchestra written using generative algorithms designed in OpenMusic.

variazioni

First Movement: Invenzione

Acoustic sample 2

He-li-Be-B is a saxophone quartet performed by the Radnofski Quartet in 2011

Boron (IV Movement)

Commercial and Library Music

Soundtrack for “WalkExperience” iPhone App

Traffic: library music

Multimedia

Ibuprofen

Ibuprofen is an audiovisual piece for 360 projection and 16 channels submitted for the CobeFest at Virginia Tech. The sample posted below is an excerpt rendered for flat screen and stereo audio. The audiovisual objects in the video are designed to rotate around the audience both as visuals and audio. This work is a good representation of the current state of my research, how it is interested in the audiovisual binding of the objects and how the binding affects the perception of the musical texture.

Kalectroscope

Writing

The OM Composer Book vol.3 (chapter)

Perspectives of New Music:

Article about Aldo Clementi’s algorithmic technique

https://www.jstor.org/stable/10.7757/persnewmusi.54.1.0137

Projects

Group Flow: interactive meditation

Recently I have joined forces with the Consciousness Hacking team of Mikey Seigel to work on Group Flow. I developed some sonification patches mostly with granular techniques

CINC: Computer Interface for Neuro Composition

Presentation at Massachusetts Institute of Technology

Instructional videos

Application Auburn University

Acoustic Music

In my acoustic writing I develop generative algorithms that I tweak and transcribe as acoustic scores. These processes are described in detail in the IRCAM publication “The OM Composer Book vol.3” (click below to read

OMComposer

Acoustic sample 1

Variazioni Su AlDoClEmenti is a piece for chamber orchestra written using generative algorithms designed in OpenMusic.

variazioni

First Movement: Invenzione

Acoustic sample 2

He-li-Be-B is a saxophone quartet performed by the Radnofski Quartet in 2011

Boron (IV Movement)

Commercial and Library Music

Soundtrack for “WalkExperience” iPhone App

Traffic: library music

Multimedia

Ibuprofen

Ibuprofen is an audiovisual piece for 360 projection and 16 channels submitted for the CobeFest at Virginia Tech. The sample posted below is an excerpt rendered for flat screen and stereo audio. The audiovisual objects in the video are designed to rotate around the audience both as visuals and audio. This work is a good representation of the current state of my research, how it is interested in the audiovisual binding of the objects and how the binding affects the perception of the musical texture.


Students work sampler

Audiovisuals Environments Spring 2019

Click this link to access the latest example of one of my students’ final project and find the patch in the link below!

https://videos.files.wordpress.com/8zQ4p0pw/clifford_chong_final_project_comp_hd.mp4

https://michelezaccagnini.blog/wp-content/uploads/2019/05/Final-Project.zip

Audiovisual Environments Fall 2109

Max/Jitter patches

Project 3

Project2Finn

Clifford Assignment Beap

Scores/Recordings

4-Constraints (2013)

String Quartet

Score

4-Constraints mov 3
4-Constraints mov. 4

Variazioni su Space Invader (2016)

Two cellos, Tape, Visuals

Score

Variazioni su Space Invader

OstinataMente (2016)

Viola, Live Electronics (EEG), Visuals

Score

Ostinatamente (live performance): Excerpt 1
Ostinatamente (live performance): Excerpt 2

Ease Study (2019)

Audio visual work in progress (Max/Jitter)

Splice Submission

A Quick Brown Fox

Excerpts from movement 1 and 2 (3 to be added). Score is not in its final version (dynamics are mostly missing and general cleanup is needed)

AQuickBrownFox – Full Score

Movement 1 “Jazzy”

midi mockup and electronics:

electronics

Movement 2 “Feathered”

midi mockup and electronics:

electronics

midi 🙁