Program Note:
This system is designed to take real-time user input through a
microphone and process it in novel ways. The user needs only to
open the program and begin speaking. The spoken voice is
recorded and analyzed using an FFT, and the spectral data is converted into a 3D
matrix using a technique by my former teacher,
Luke
Dubois. This software is based heavily
on his model. The 3D matrix is then scanned to resynthesize the
original spoken sample. The novelty of resynthesizing from an
image is that visual effects can be applied which change its
sonic properties. Over time, the original sample will change
substantially--there are no other sound sources or effects
introduced in this system: everything heard is derived from the
original sample. In this piece, the user says "God"
one time. It is
then processed according to deterministic processing score that the software follows;
nothing is random.
Program Note:
Software I created in Lisp takes a
list of seed pitch classes and scales those numbers to fit the range of each
instrument. Then uses canonic functions to create minimalist gestures from the
pitches. Once the software was written, it was run three successive times with
different seed notes. This piece was composed and premiered at
the electronic music studios at
UCSC under the direction of
David Cope.
Visit the
Projects & Technology section for information
on the Modal Object Library
algorithms.
Program Note:
Software I created plays the 8 notes of the
C Major scale in order, then related diatonic modes of C Major that have 6 of 7
notes in common: 42 modes for Major, 21 for Harmonic Minor, 21 for Harmonic
Major, and 28 for Melodic Minor. All 112 modes are played before the 25th
mode of C Melodic Minor (Bb Major) is selected and the process repeats (in Bb).
The order of tonal centers continues: Ab, Gb, E, D, then to F (via the related C
Ionian of D melodic minor), then following the same descending M2 pattern, Eb,
Db, B, A, G. Finally, the modes of C are played again. All of this is done in 60
seconds (as the composition was commissioned for the
Vox Novus "60x60" project.
Visit the
Projects & Technology section for information
on the Modal Object Library
algorithms.
Program Note:
this algorithmic
composition exhibits common-tone modulation via the Modal Shift object
similar to the
Evolutio
(2007). Ravelian Fuse, however,
incorporates common-tone modulation to several of Messiaen's Modes of
Limited Transposition. When the tonal center of the Ravelian Fuse is
"melodic minor", the first two scale degrees are averaged, resulting in the
6 tone "Whole Tone Scale". This modulation technique is common in the music
of Ravel and Debussy. Another type of impressionist modulation to a Messiaen
Mode is to split scale degree 5 of melodic minor into the two tones a half
step above and below, resulting in the 8 note Octatonic Scale.
Visit the
Projects & Technology section for information
on the Modal Object Library
algorithms.
Description:
this generative algorithmic
composition for string orchestra, harp, and piano was composed in real-time
using several objects in the Modal Object Library to explore the
relationship between diatonic modes by beginning with minimalist gestures in
a single 7-note scale before changing to a different mode that is only one
altered note away. This piece continues until all 28 modes of the major,
harmonic minor, melodic minor, and harmonic major scales have been used.
Visit the
Projects & Technology section for information
on the Modal Object Library
algorithms.
Description:
this transformative algorithmic
composition for two pianos is an atonal work in 15 short movements. The
program creates a histogram of every note and rhythm in each of Bach's 15
two-part inventions and then composes a new piece based on the data from the
histogram.
Visit the
Projects & Technology section for information
on the Dislocater program.
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