At the behest of corporate copyright holders, media sharing sites like YouTube and SoundCloud have implemented listening algorithms designed to identify uploaded music. However, these “Content ID” systems are designed to presume all use is illegal use; every match is …
More Like This examines the interactions that occur within a metricated musical environment. There are four primary performers: each of the two saxophonists, a live artificial intelligence system (AI), and the audience. Each contributes to the work in one or …
My work Not Pitch for baritone saxophone and computer-generated sounds has been recorded and released on CD by Rhonda Taylor.
Our everyday interactions are increasingly mediated by technology, be they mobile phones, chat systems, or social networking sites. These systems are designed to anticipate and support our needs and desires while facilitating those interactions. As these systems grow in complexity, …
tagged: AI, computer vision, computer-assisted composition, generative, genetic algorithms, installation, interaction, music, new media, painting, robotics, software, technology
Listen to a live recording of my recent commission Shift for six udderbots played by Jacob Barton.
posted on 06/27/2011 |
tagged: music
On April 26, my interactive robotic painting machine will make its public debut at the Krannert Center. The result of over a year’s worth of work, the machine uses artificial intelligence to paint its own body of work and to make its own decisions. It also listens to its environment and considers what it hears as input into the painting process.
Jacob Barton will be performing the world premiere of my musical work titled Shift (2010), tonight (January 19, 2011) at the Contemporary Arts Center of Virginia in Virginia Beach, VA.
For details about the works listed below, see my pages on cut/paste computer music, computer/instrumental works using GACSS, instrumental compositions, and works for low trumpet. Download My Music To download an album’s worth of my music for use in iTunes …
While cut and paste is a technique I’ve used in many of my computer music works (as well as recent video works such as ORDER OF MAGNITUDE), a few are distinguished by their sole reliance on this technique. In these …
Genetic Algorithms in Composition and Sound Synthesis, otherwise known as GACSS (pronounced “gax”), was an original sound synthesis program I wrote and used between 1992-1998. GACSS allows the composer to graphically visualize and imagine new sounds at the waveform period …
Idler Xaxis : Gamma Interlace (1993) Idler Xaxis : Gamma Interlace explores the use of polyrhythms at the macro, micro, and nano scales, but does so using nothing more than even divisions of the beat (e.g. quarter notes, eighth notes, …
As a jazz- and classically-trained trumpet player turned composer, I sought to develop extended trumpet techniques I could use in my improvisations and compositions. A primary focus in this area was my cultivation of an extreme low register with continuous …
During my undergraduate and graduate studies in music, I took an experimental composition seminar with Herbert Brün. Later, Herbert and others grew that seminar into a school of its own, called the School for Designing a Society. Years later, in …