A awake is a piece that emerge from the following abstract:

“Virtual images are images..
They are in locations like a dream where light does not reach.
..Images on the other side of the mirror, steps that only appears to an observer..”

“object distance Image distance
Sounds as a reflection, time for a personal reflection.
Time for displacement, a gradual diminution of visibility over the countenance; flashes sounds and luminescence”.

Recordings from a clarinet and electroacoustic sounds are related with the Idea of this Initial abstract.
Leila Chab (clarinet), explore new sonorities as a part of a musical expression in this piece. Environment involving extensive and soft sounds of the clarinet are process simultaneously and assembled with the fixed audio by the player.

This project has obtained the Creation Grant FNA 2019 (Fondo Nacional de las Artes, Buenos Aires, Argentina).

Adumbrations goes through a series of statements towards a sensibility of ideals and shadows, utilizing female voices reciting a series of tongue twisters that iterate sibilant, fricative, and bilabial sounds. If spoken incorrectly, the sound qualities of these tongue twisters are heard as curse words. Therefore, there needs to be consistency in the process of speaking these tongue twisters explicitly. In the English language curse words can function as multiple parts of speech, and as the saying goes, people who curse more frequently are more honest.

This piece explores the dichotomous relationship between certain ideals and shadows, i.e. consistencies and inconsistencies, actuality and potentiality, and the explicit and the honest, as it goes through a series of musical adumbrations that “halo” the process of these tongue twisters. Through these adumbrations, the contradictory can be either one or the other of the ideals or shadows turning on itself, and at times the appearance of the clarity and the inaccuracy are in an indefinite flux through these halos. This occurs as inconsistent phonemes are turned from inaccurate iterations of the tongue twisters into something sounding consistent. The halos are supplementing the voice within varying simultaneous parameters that include shimmering, radiating around the iterations and vice/versa, and existing as a spatial supplement revolving in different stereo planes around and as a process, and out of the immersive comes our personal perception of the contradiction. One can think of this adumbrated halo, in this sense, as a place where the dichotomous relationship becomes indistinguishable, and laughter for a flawed system.

Thank you so much for the wonderful voice recordings:
Elizabeth Gartman

The two basic elements of this piece bring their own unique characteristics, and when they converge, the cold and more aggressive metallic gestures are contrasted with the gentle warmth of the wood at various levels of intensity and harmony.
—Joshua Tomlinson / 2015

Most of my works in experimental film are driven by structural synesthetic
concepts—what I call ordered chaos. This is what I found in the
electroacoustic composition “Convergences” by Joshua Tomlinson, and I knew
I needed to magnify this as cinema.
The conceptual journey was realized as two particle systems in a continual
attempt of convergence—this was the structural order. The chaos is
realized in the volumetric shaders that were programmed with an anarchy of
exponential noise. This dance of crashing extremes hopefully reflects the
same conceptual directions of the musical composition in a union of sight and
sound.
—Geo Holmes / 2019

Reid composed the work during residencies at the Ucross Foundation and the Virginia Center for the Creative Arts. The work is available in stereo and 8 channel versions.

Reverie won a Second Prize in the XIII° International Destellos Competition 2020.

By ANONYMOUS with contributions by ANONYMOUS.
Dedicated to ANONYMOUS.

© ANONYMOUS 2020.

PROGRAM NOTE

KYAGER came out of recordings of sketches and guided improvisations in August 2019 with ANONYMOUS and ANONYMOUS. The piece was composed between September 2019 and January 2020. The music was inspired by imagery created by ANONYMOUS and ANONYMOUS.

KYAGER seeks to evoke the feelings of a handful of shipwrecked voyagers: survivors stranded on a great, harsh, desolated island in the Southern Ocean. Alone in a hostile environment yet grateful to be alive, they are starting to figure out their position and prospects. They find themselves on a grand beach with smoothly undulating dunes. The rising sun is beginning to warm their soaking wet clothes. There is no trace of human life. They are trapped between a steep rock wall and the sea: ceaselessly rolling waves of freezing cold water hitting the seemingly endless strip of sand. The three lone travellers contemplate their situation. None of what happened before had been inevitable. Without speaking, each one knows they now share a destiny: to become old together, filled with regret.

I have often thought of myself as a collector, or perhaps more accurately a hoarder, of sounds. These sounds come from a number of sources including household items, children’s toys, musical instruments, and environmental recordings. The act of manipulating these sounds and placing them in a musical context is a process that relies both on compositional strategies and software tools that I have developed. This work represents one possible result when left to my own devices.

Note: This video contains flickering frames that may affect viewers who are susceptible to photosensitive epilepsy, or other photo-sensitivities.

For review a binaural/stereo mix has been provided.

The audio-visual installation presented in four windows of London’s Macmillan Cancer Centre was transformed to a live concert-hall version (for Eb Clarinet, Live & Algorithmic Sound Projection and Responsive Video).

“Aechome” was composed for flutist Beatrix Wagner and composer and cellist Gerald Eckert – a piece for altoflute, violoncello and tape.
The title “Aechome” is an acronym from “aerophone”, “chordophone” and “membranophone” and refers to the three principles of sound generation this composition is about. All electroacoustic sound of the tape part are based upon one single timpani hit on a-sharp. Form and structure of the piece is based upon a 21-tone-row, though this row is not used in a strictly serial sense. Stereo, 11:55

This piece, by composer Adam Stanovic, imagines the huge machines as if from a child-like fantasy. It follows the journey of fiction character – Baltazar – as he travels into, and through, the greatest machine of all.

Join Baltazar as he journeys through the Great Machine in search of its beating, mechanical heart. As the machine judders and splutters into life, will he avoid the pistons and valves, cogs and bursts of steam?
Warning: contains scenes of mild peril.

Baltazar’s Adventure through The Great Machine was commissioned by The Kelham Island Museum and Arts Enterprise, Sheffield, and premiered in the museum on 17th July 2019.

For Ozzy, Zac, and Kaia.

The real-time synthesis is done in Max/MSP 8. Six microphones capture the signal in different areas of the instrument, thus making a cleaner and more specific synthesis.

The composers brainwaves are used to modulate the Eurorack modular synthesizer. Audio material is semi-stochastically accessed and played using an Interaxon Muse Brainwave Interface and Eurorack modular synthesizer to determine start position, pitch, playback speed, spatialization and duration. The audio is generated during an improvisation while the scene from Forbidden Planet is playing.

The brainwaves are further used to modulate Eurorack effects and to introduce timbral material. Temporal elements and sound events in the composition are influenced by the composers brainwaves at ‘runtime’ and as such each iteration of the performance is unique.

Real time audio events were generated using an iPad and gestural movements are heavily influenced by my continued exploration of Wishart’s Imago and the Barron’s original score.

The use and transformation of loops is the main composition method of this work. The composer creates them in multiple ways with different tools such as music programming, loopers or analogue sequencers, bringing a variety of results, in most cases, impossible to be replicated and making every live performance of this piece unique in sound and time.

The composer used Audiostellar as a main instrument, a new audio software application that has been developed at the same time the work has been composed. Audiostellar is a software that uses AI to create 2D visualizations by analyzing audio samples characteristics, with multiple control possibilities such as random rhythm patterns or unpredictable pitch triggers. This 2D map is projected in a main screen in front of the audience and in front of the performer. Meanwhile, the software is capable of manipulate the reproduction of this samples in order to make predictable or unpredictable sounds or loops.

In addition, Audiostellar’s virtual interface is used to control and manipulate analogue synthesizers and audio softwares such us MAX or Ableton Live, resulting in a powerful tool perfect for the composer characteristics and very attractive to be seen in a live performance.

A short period of time and sound was played at Tama Music Festival in January of 2020, and was selected to take part of the New York City Electroacoustic Music 2020.

Falling, splashing, flowing, still and recurring… the state of water has been shaping into endless forms; yet, it is formless as well. Virtue, has also been deconstructing by invisible force, then, circularly, constantly reconstructing by itself, like the state of water. Gestures, speak for the invisible force, control water as an instrument and lead to the change of the states of sound, notes and rhythm.

This piece is a gesture-based electronic percussion piece, without performing on a physical instrument, but just the gesture, derive from hands and body.

As my aesthetic inspiration for the piece, through appreciate Japanese artist Shiro Takatani and Chinese painter Zao, Wou-ki’s artwork, I had fun hunting the logic and rebuilding the connection among time, space, status and integrate them inside and outside music texture and rhythm.

To tell the story through the subtly of music status and the philosophy of water, hopefully, to bring new sensorial experience from the phenomenological perspective. When new media arts and the statement of music are accreted, the logic behind the abstraction of music expression and the definition of virtue will reveal by itself.

Questi altri fuochi tutti contemplanti (These other flames were all contemplatives)
uomini fuoro, accesi di quel caldo (men who were kindled by that heat which brings )
che fa nascere i fiori e ’ frutti santi. (to birth the blessed flowers and blessed fruits.)

the piece was created using over 1200 layers through real-time processing as well as other synthesis means (using CSound, Super-collier, Max/MSP, Soundforge, Audacity, Audition and Protools, Ableton Live). The composition was created using a live recording of the Beijing youth orchestra playing the Wagner prelude (the section used was the part when the entire orchestra plays [fff] – “Tutti”)

The composition follows Dante’s Paradisio 22 structure and one can find the pilgrim (as high sound from the Beijing who reappeared periodically to guide the listener and ask questions)
The trumpets (transformed through the spectral process) represents Benedict’s revelation in the Empyrean. the piece concludes with Benedict’s voice and the “ultima spera” as the no-place of complete realisation that is beyond space-time.

With Sound Designer were then individual samples sizes, while maintaining the instrumental origin.
Turbosynth with the software have been handled and processed by Sound Designer samples to create the sounds / object that were then used to the track assembly.
The installation was realized with Deck to four tracks.

For this song were used a bit ‘all the sounds come out of the handling and treatment Turbosynth, and then, some are gestures and others lend themselves to textures and joints.

The structure of the piece follows a logic succession of phrases, of combinations between objects to form periods and episodes, and then, in general, of various joints, always from a source of sounds Flute and Violin.

Implementation at the electronic music studios of the Conservatory “G. Verdi” of Milan in 1998.

The work has been composed using recording techniques and spatialisation methodologies discussed in detail in the author’s previous work. (See here for details http://eprints.leedsbeckett.ac.uk/5304/). These techniques afford a virtuosic spatiomorphology, especially in the Higher Order Ambisonic version of the work. Please note that that stereo and mp3 versions submitted here are for reference only. 5.1 version has also been submitted here via an external link.

This soundscape recording was made on a cold day when my family and I were the only ones in the park. It begins with the sound of water from the spring boil churning shells on the sandy floor beneath the surface. These discarded shells are evidence of the native people who called the site home for thousands of years. It then fades slowly to reveal the soundscape above water just in time to hear the train passing close to the park’s entrance. This train route used to deliver tourists to a winter retreat on the site in the late 1800s, but now it passes without stopping at the forgotten resort.

FF0000 is an approach to computer-aided improvisation based on procedurally generated clues performed in a Max Msp environmet. Music is generated through a double process of interpretation in which a joystick player provide instructions to a performer. The later translate these clues and transform it into sound material. Although many improvisation practices are strongly attached to the idea of unpredictability, there are always human or abstract interfaces that guide the process of decision making in improvisation. This piece elaborates on the interface of gaming which generates caothic musical reactions through certain visual instructions.

The sheng is a Chinese mouth-blown free reed instrument consisting of vertical pipes. It is a polyphonic instrument that has been traditionally been used as for accompaniment, but has increasing popularity as a solo instrument. It was, in fact, the incredibly artistry of Hu Jianbing that motivated me to work the incredible sounds that it can generate.

I first created an electroacoustic sketch from the samples, and then culled from it the notated solo — in this case, the cello. Through a detailed transcription of the sheng samples — over 200 of them in this case — the common practice and extended techniques of the sheng suggest all kinds of gestures when re-imagined for the cello. Including numerous approaches to articulation and accentuation, vibrato, harmonics, real-time dynamics control, trills, tremolos, pitch combinations, and harmonic rhythm.

“Sheng” was first performed by Philip Boulanger, cello, at the Mako Live House in Beijing, China, on October 28, 2010. The cello solo presented here is by Patrick Owen, cello, recorded at Distler Performance Hall at Tufts University’s Granoff Music Center, on June 2, 2013.

Protected: Orbitals

1) “implicate” (involve) the space in the dynamism of time by “unfolding”, “deploying” or “explicating” (arranging or extending) the music into the space.
2) in the time and the space this work is performed, show their reciprocal, “complex” and “multiple” motility and “ply” (layers).
3) make this work work as the mechanism to express the whole time and space as the effect of mutual movement, and also the system to present the motility itself.

That is to say, the composer attempted to expose the relation of “complicity” that music and space influence, depend on and “implicate” each other.

The words double quoted above are suggestive of the state of this work, the composer thinks. All the roots of those words (except “unfolding”) are Latin “plicare” meaning “to fold”, and it is derived from Proto-Indo-European root “plek-” meaning “to plait” and “to fold”. The work’s title “Plek” comes from it.

The stereo reduction of the work misses many of the spatial nuances that emerge from its multichannel version. The original composition was made for an 16.2 channel system.

All the sounds that form this composition derive from the elaboration of vocal syllable. Starting from this very small sample (0.31 seconds) I tried to change the original characteristics in order to generate a range of sounds more o less
different compared to their original variety. This was possible using particular technique of sound processing such as spectral time stretching, morphing, freezing and sustaining a sound on an explicitly specified grain, transposing copies of sound on top of one another, etc. .
This composition has been realized on linux operating system.

An eight-channel mix was derived by selecting eight of the most interesting sounding telephone coils to listen to as audio. A lowpass filter has been applied to the signals in order to boost the low end. No other effects or synthesis have been applied.

Although evidence of extraterrestrial intelligence might have been discovered during the generation of this piece, the composer had no such luck. He is, however, considering writing a companion piece, to be played only in the event of the discovery of extraterrestrial life.

The term plankton comes from the Greek word “vagrant”, which means that they basically have no ability to swim and can only rely on ocean currents.
Although it is difficult to observe with the naked eye, there are actually more than one million teaspoons of jellyfish and planktonic fish larvae in a teaspoon of seawater. It is suggested that such uncertainty, intensiveness and diversity allow the combination of musical sounds.

About sounds

To express the features of plankton, I made a granular sound material mainly using granular　synthesis. Then, by combining with the edited granular sound material of each sound, various plank worlds are reproduced.

A collection of found sound objects originally explored in a hands-on creative workshop exploring sound, object and mark-making at The Barber Institute of Fine Arts (UK). The recorded found sound objects from this workshop were repurposed for this eight-channel composition, Abstracted Objects.

Three States of Wax develops ideas from Michel Serres’ early work on the philosophy of physics – thought that has strong analogies with the materials of computer-based music. He considers the nature of materials, taking as his example a piece of wax: it has form or figure, however malleable, it can be understood on a molecular level and in terms of the physical laws of propagation, and it bears the traces of its own history – of the feeding habits of the bees, of temperature, of intentional or circumstantial forming. Serres proposes that the interference between different models, theories or modes of representation is the engine of knowledge.

A central computational agent is responsible for managing the interaction of the ensemble. The design process was guided by experiments with an ‘analogue’ group of musicians testing different network configurations. Looking for potential paths of behaviour requires careful monitoring of the current state at any given moment. Even with a small group of three musicians, the relationships are complex, multi-layered and afford a range of possible perspectives. Patches in Max analyse the individual and aggregate inputs for parameters to maintain higher order variables that reflect the various directions of evolution: emergent pitch or rhythmic patterns, changes in dynamic or spectral energy, degrees of divergence. The relative energies of the different perspectives determine response behaviours such as amplify, inhibit or contradict, manifest as sound processing, synthesis, and sampling from the performance itself.

Comprising multiple personal binaural room impulse responses (BRIRs) – samples of space in the human spatial register – this piece explores the modulation and dynamic of the spatial image via predominantly abstract materials. The space-less, abstract synthesis and feedback is given architectural animation through convolution with the BRIRs, imparting the composer’s peculiar, cumulative directional filtering: an echo of occupied space now intaglio, a nebulous anatomical topography, a spatial mould through which the sonics are extruded and tamed.

The saxophonist places a small microphone inside different parts of the saxophone (mouthpiece, neck, body), slowing constructing the instrument as the piece develops. At each stage, the feedback properties of that object are explored. The direct manipulation of the saxophone keys changes the resonant properties of the saxophone’s tube, creating an expressive audio feedback instrument controlled by mechanisms ergonomically familiar to the performer.

CAGEquad is a manifold composition and the ICMC2020 variant will only be performed in public once. It was produced with DISSCO, software for composition and additive sound synthesis developed at UIUC Computer Music Project, Argonne National Laboratory and National Center for Supercomputing Applications.

The audio file submitted is in stereo format and mp3 (?!) which means that the sounds quality and and the way they are positioned in space is lost and can not give a correct idea of the music submitted.

The Ear Talk project was created and executed in collaboration with the ensemble Consensus, whose focus is to explore different types of scores and various ways of communication that influence musical play. Disembodied and remote collaboration has also been a focus of the ensemble. By developing a compositional process in which pre-recorded materials are crowdsourced along with creative directions from participants that serve to shape music online, the Ear Talk project enabled such disembodied collaboration and performances, where members were located across the globe, from Taiwan to the Republic of Colombia. This process of crowdsourcing also challenges typical forms of social media, where arbitrarily collected content often fails to create one thread of meaning, by amalgamating sounds of different origins into one coherent piece.

This piece was composed at the Virginia Center for Computer Music using ambisonics microphones and Ville Pulkki’s Vector Based Amplitude Panning for the multichannel spatialization.

Sound sources include audio synthesized within Max/MSP, minimally processed field recordings, and processed samples from various analog synthesizers and self-built instruments. The field recordings have been sourced from a variety of landscapes that represent elemental correspondences associated with the Tarot. The controller features modular control objects in the form of concentric rings that represent a Tarot deck. The major arcana cards control macro parameters and development trajectories, while the Minor Arcana cards control selected synthesis and processing parameters. The hardware interface is housed on a planetary gear system, which allows control over timing and sequenced events through manual gear rotations. Each gear is equipped with a sensor plate upon which light, magnetic, and capacitive-touch sensors are mounted. These sensors are manipulated by manually spinning concentric rings of various colors of acrylic and embedded magnets that sit on top of the sensor plates.

Woon Seung Yeo (visual artist) is a bassist, media artist, and computer music researcher. He is Associate Professor at Ewha Womans University, Seoul, Korea, and leads the Audio and Interactive Media (AIM) Lab. Dr. Yeo has received B.S. and M.S. degrees in Electrical Engineering from Seoul National University, M.S. in Media Arts and Technology from University of California at Santa Barbara, and M.A. and Ph.D. in Music from Stanford University. His research interests include audiovisual art, cross-modal display, algorithmic composition, musical interfaces, and audio DSP. Results of his research are commonly shared by exhibitions and performances in the public interest.

Two distinct actors play out this drama: one stimulating another, drawing life and beauty from a previously inert form and exploring an increasingly symbiotic relationship.

The work presents the recorder as an initially static element that grows in textural complexity in response to stimuli. By contrast, the dancer takes the role of a curious, mischievous and eventually malicious entity that slowly exerts more and more control over the recorders’ sonic qualities. The dancer is afforded a high degree of improvisational freedom and can dictate when the piece should progress from state to state – by contrast, the recorder follows rigid cues throughout the work and is only given space to improvise in a limited form and for a short period of time. This performance
paradigm is emblematic of the works underlying themes.

As the relationship builds, and the dancer explores ever more overt forms of control over the recorder, the nature of the dancers’ character evolves from impish to dictatorial and increasing displays of possessiveness that eventually culminates in the ultimate display of power: taking of another’s identity, voice and spirit for one’s own gratification.