real-time/non
real-time
ELECTRONIC MUSIC
Festival
16-19
June 2005
Kurator / curator: Cort Lippe
Konzertnotizen / concert notes
De Ligno Chalybeque
Here are the ingredients necessary for the recipe of the piece:
Steel Wood Hair
Fire Sulfur Quicksilver
Mercury
Dionysus Mars Sisyphus
Initiation Sacred Dance Sparks
Caltinatio
Trance Chaos Katharsis
Night Crickets Stars...
All the sounds used in the piece derived from a cello, processed by
custom-made algorithms in Max/MSP, and finally mastered in Pro Tools.
The composer wishes to thank ASCAP and SEAMUS for commissioning this
work. The piece has been awarded with the Residence Prize of the 30th
International Competition of Electroacoustic Music and Sonic Art,
Bourges, France and the Special Prize for Young Composer of the Musica
Nova International Electroacoustic Music Competition, Prague, Czech
Republic.
has received his BA degree from the Music Department of the Ionian University in Corfu, Greece, studying with Andreas Mniestris. He is currently completing a Ph.D. in Music Composition as a Presidential Fellow at the University at Buffalo. His works have been performed and received prizes in various countries, such as Germany, France, Italy, Czech Republic, United States, Brazil, Singapore, Korea, Australia, and Greece. Recordings of his music have been published by SEAMUS CD series (vol.13), ICMC 2003, and Ionian University. During the year 2004-2005, he is serving as Assistant Professor of Music at Hartwick College, where he is teaching Music Technology and Music Theory and is the coordinator of the Computer and Recording Studio.
(Still Light) is named thus because of the static nature of the materials. A simple gesture that leaps between three octaves alternates with a low timbre trill, both reiterated many times in various permutations. Roughly half way through the material flips on itself. The timbre trills are heard in the highest tessitura while the mobile material that was leaping by several octaves is constrained to the lowest register. The last third of the piece introduces low and fast flutter tonguing juxtaposed with similar material from the beginning. The computer part captures the flute sounds on very specific pitches spatialising the sound of the flute between four speakers and processing the sound with a chorus effects, reverberation, flange and several harmonizers. Increasingly the amount of captured pitches, and the range of effects, is expanded to reflect similar ideas in notated in the flute part.
(Born 1974 in Fredericton, New Brunswick) studied composition at the Royal Conservatory of Music (The Hague), the Royal Academy of Music (London), and the University of North Texas. Recipient of the NUFFIC grant by the Dutch government, Mr. Charke also received a BMI student composer award in New York City and the Outstanding Undergraduate Award in Composition from the University of North Texas. Derek is currently the recipient of a Presidential Fellowship at the State University of New York at Buffalo where he is completing a Ph.D. in composition and has completed a Master’s degree in flute performance. Currently he lives in Toronto, Canada.
For more information visit: www.charke.com
The source material for imp++ was created in MAX/MSP/Jitter using a small audio buffer that contained 128 samples of digital audio or a slightly larger matrix containing approximately the same number of cells. By altering the values of the individual samples (or cells) through various algorithmic methods and reading through the buffer at varied speeds and directions a wide variety of impulses were generated. The source material in turn was processed using a number of synthesis techniques, most notably granular synthesis.
writes acoustic music, electro-acoustic music and interactive computer music and works in other media such as film, video, machine vision and robotic arts. His work is informed by and often combines elements from these various fields. J.T. is currently a candidate for the Ph.D. degree in music composition at the University at Buffalo. Recent awards include the "New Voices Award" at Digifest 2004 for Robot Rock Band and shared first prize as well as the "Public Award" at the Life 7.0 competition for the "Universal Whistling Machine."
was commissioned by the Fynske Musikkonservatorium of Odense, Denmark, and premiered there in 2000. The electronic part was created in Odense, and at the Hiller Computer Music Studios of the University at Buffalo, New York, using Max/Msp, which was originally developed by Miller Puckette and whose technical support helped make this piece possible. Technically the computer tracks parameters of the cello, such as pitch, amplitude, spectrum, density, rests, articulation, tempi, etc., using this information to trigger specific electronic events and continuously control all the computer sound output by directly controlling digital synthesis and compositional algorithms in real-time. (Thus, the performer is offered the possibility to “interact” with the computer, not simply triggering, but also continuously shaping all of the computer output.) Some of the sounds in the electronic part come directly from the composed cello part, so that certain aspects of the musical and sound material for the instrumental and electronic parts are one and the same. Frequency domain FFT-based cross-synthesis and analysis/resynthesis using an oscillator bank, as well as more standard signal processing such as harmonizing, frequency shifting, phasing, spatialization, etc. are all employed. The instrument/machine relationship moves constantly on a continuum between the poles of an “extended” solo and a duo. Musically, the computer part is, at times, not separate from the cello part, but serves rather to “amplify” the cello in many “dimensions” and directions; while at the other extreme of the continuum, the computer part has its own independent “voice”. Music for Cello and Computer is recorded on the ICMA/ICMC 2003 CD.
Studies: Larry Austin, USA; G.M. Koenig, P. Berg, Institute of Sonology, Netherlands; I. Xenakis, CEMAMu, University of Paris. Employment: 1986-1994, IRCAM, developed real-time applications and gave courses on new technology in composition. Since 1994, associate professor, composition, and director, Hiller Computer Music Studios, University at Buffalo, New York. Seminars with: Boulez, Donatoni, K. Huber, Messiaen, Penderecki, Stockhausen, etc. Prizes: (1st prizes) Irino Prize, Japan; Bourges Prize, France; El Callejon Del Ruido Algorithmic Music Competition, Mexico; USA League-ISCM Competition, Leonie Rothschild, USA; (2nd prize) Music Today, Japan, (3rd prize) Newcomp, USA, (honorable mentions) Prix Ars Electronica 1993, 1995, Austria; Kennedy Center Friedheim Awards, USA; Sonavera International Tape Music Competition, USA; Luigi Russolo Competition, Italy. Performances: International Computer Music Conference, ISCM World Music Days, Gaudeamus, Tokyo Music Today, Bourges, Huddersfield, etc. Recordings: ADDA, ALM, Apollon, Big Orbit, CBS-Sony, Centaur, Classico, EMF, Hungaroton Classic, Harmonia Mundi, ICMC2000, ICMC2003, IKG Editions, MIT Press, Neuma and SEAMUS.
In 1998, Mark Menzies asked me to write a piece for violin and computer that somehow captured the spirit of the blues. A couple of years later, when my father died, the idea came back to me. My father was a big fan of early ‘down-home’ blues, so the piece ended up being an amalgam of elements of down-home blues and my memories of him. Besides direct references to early blues made through sample modulation, oblique references are made via a certain amount of flamboyancy, virtuosity, and quirkiness.
Barry
Moon
was born in Melbourne, Australia in 1965. After failing in his ambition to
become a rock star, he studied music at LaTrobe University, and went on to
complete a PhD in composition at SUNY-Buffalo. He worked for several years at
Brown University, and currently lives in the UK, where he teaches on the
Creative Music Technology program at Bath Spa University College. Barry's
creative work includes a number of pieces for computer and instrumental/vocal
musicians, installation and performance pieces with computer, video and DVD
pieces, and acoustic instrumental pieces. He has a particular interest in
creating greater interaction between performers and the computer. His 'Souvenir'
for dance and computer, choreographed by Adele Levi, received an AHRB grant in
2003. He is currently working towards a CD of pieces based on the works of
Danish poets for voice, guitar, and computer.
is a recent work for piano with real-time audio and video processing. As the title suggests, canonic structures play a musically important role in this work. In the audio domain, the canonic materials performed by the pianist are recorded in real-time by the computer and played back to create further layers of canonic voices. As the density of these voices increases, their timbral transformation becomes more pronounced as they are eventually reduced to their resonant tone components. This musical structure is reinforced by various parallel visual canons, which use the hands of the pianist as source material. This material is also visually transformed during the piece, eventually moving beyond the boundaries of recognition.
originally from Australia, is an audio engineer and composer whose work has been featured at various festivals and conferences around the world. An Assistant Professor of Music Technology at the University of Maryland, Baltimore County, recent presentations of his work have taken place at ICMC 2003 (Singapore) and 2004 (Miami), SEAMUS 2004 (San Diego) and 2005 (Muncie), FEMF 2004 and 2005 (Gainesville), DAFX2004 (Naples) and the 2004 Generative Art Conference (Milan). Upcoming presentations include NIME2005 (Vancouver), the 2005 Sonic Odyssey Concert Series (Los Angeles), Art+Math=X (Boulder) and JIM2005 (Paris). Also active as a professional audio engineer, his work in this capacity has been released on various labels including EMF, Sunken Gong Records, Mark Custom Records, EMI Australia, and Recurrent (Australia). Dr. Kim-Boyle is a member of the Audio Engineering Society, the Acoustical Society of America (Associate Member), the International Computer Music Association, the Society for Electroacoustic Music in the United States and the American Society for Composers, Authors and Publishers.
Music for Hi-hat and Computer was commissioned by the American percussionist J. Landy Cosgrove, and premiered at the Fynske Musikkonservatorium of Odense, Denmark in March of 1998. The electronic part was created at the Hiller Computer Music Studios of the University at Buffalo, New York using the program Max.
Music for Hi-hat and Computer is recorded on the ICMA/ICMC 2000 CD.