Uncategorized
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
Factory Berlin
Project proposal, background
Audiovisual examples
Pistole Visuals
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
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
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
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
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
Score He-Li-Be-B
michele zaccagnini 