Dakota State University

Locked In

Etudes for Marimba and Electronics

This piece is written around the idea of rhythms oscillating around regular and irregular pulses. In particular, the different parts are generated by applying the idea of “non-linear sequencing,” i.e. distorting the playback of a regular pattern by applying a non-linear time-line. There is no large structure in this piece but it is though as a collection of Etudes.

The piece was performed by I-Jen Fang and the Technosonics Festival in Charlottesville in late February 2020

OBX

This is the result of an ongoing collaboration with the German Techno artist Pistole. I am producing the visuals creating different cross-modal links between the high energy fast music and the visuals

Deep Map

Deep mapping is a technique that links music and visuals at a low-perceptual level: the two perception are deeply connected so that the sound and visual events are perceived as one. These are two examples for which I composed the and produced the music as well as the visuals.

SEAMUS 2020-Non-linear Sequencing

A paper of a library of rhythmic composition tools developed in Max

Application Portland State

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 represented. 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”

Commercial and Library Music

Soundtrack for “WalkExperience” iPhone App

Traffic: library music

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 U of Georgia

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 represented. 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”

Kalectroscope

Instrumental/Electroacoustic

Locked In

Marimba and live electronics, to be performed by I-Jen Fang at UVA’s Technosonics Festival (02/21/20)

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

Commercial and Library Music

Soundtrack for “WalkExperience” iPhone App

Traffic: library music

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 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