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Music Program Notes
SMC 2019
Music Program Notes
16th Sound & Music Computing Conference
May 28 - 31, 2019
Málaga, Spain
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-9
SMC 2019 is organized by
ATIC Research Group
Universidad de Málaga
Website: http://smc2019.uma.es
Music Program Notes
16th Sound & Music Computing Conference
SMC 2019
Cover design by Alberto Peinado, Isabel Barbancho & Lorenzo J. Tardón
SMC 2019 logo by Alberto Peinado
Edited by:
Lorenzo J. Tardón (ATIC Research Group. Universidad de Málaga)
Isabel Barbancho (ATIC Research Group. Universidad de Málaga)
Ana M. Barbancho (ATIC Research Group. Universidad de Málaga)
Antonio Jurado-Navas (Universidad de Málaga)
Alberto Peinado (Universidad de Málaga)
ISBN 978-84-09-11398-9
Permission to make digital or hard copies of all or part of this work for personal
or classroom use is granted without fee provided that copies are not made or
distributed for profit or commercial advantage and that copies bear this notice
and the full citation on the first page.
© 2019 SMC 2019
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-9
ORGANIZATION
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-9
SPONSORS
Other collaborators
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-9
Contents
Contents v
SMC 2019 Conference Committee 1
SMC 2019 Music Reviewers 3
Music Program 5
Concert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
SMC. Music Session at Sala Unicaja de Conciertos María Cristina . 6
M1. Music Session 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
M2. Music Session 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Music Program Notes 9
Concert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
SMC. Music Session at Sala María Cristina . . . . . . . . . . . . . . 10
M1. Music Session 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
M2. Music Session 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Acknowledgments 33
Author Index 34
v
vi CONTENTS
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-9
SMC 2019
Conference Committee
General Chairs
Isabel Barbancho (Universidad de Málaga, Spain)
Lorenzo J. Tardón (Universidad de Málaga, Spain)
Program Chairs
Stefania Serafin (Aalborg University Copenhagen, Denmark)
Federico Avanzini (University of Milano, Italy)
Summer School Chair
Romain Michon (Stanford University, USA)
Music Chairs
Antonio Jurado-Navas (Universidad de Málaga, Spain)
Juraj Kojs (Slovakia/USA)
Spencer Topel (Dartmouth College, USA)
Demo Chair
Ana M. Barbancho (Universidad de Málaga, Spain)
Local Committee
Alberto Peinado (Universidad de Málaga, Spain)
Alejandro Villena (Universidad de Málaga, Spain)
Irene Gómez (Universidad de Málaga, Spain)
Jose María Gómez Belmonte (Universidad de Málaga, Spain)
1
2
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-9SMC 2019 Music Reviewers
Hyoju Ahn, Sabina Matthews, Wade
Apel, Ted Matthusen, Paula
Biggs, Betsey Miyama, Chikashi
Bonacossa, Federico Lippit, Takuro Mizuta
Boyd, Michael Morimoto, Yota
Cipriani, Alessandro Naphtali, Dafna
Glowicka, Katarina Núñez, Adolfo
Guillamat, Julien Osborn, Ed
Hatakeyama, Akiko Park, Joo Won
Hernandez, Jose Payne, Maggi
Hron, Terri Rataj, Michal
Hyoju Ahn, Sabina Rigler, Jane
Jen, Chen-Hui Smallwood, Scott
Kaczmarek, Konrad Snyder, Jeff
Kemper, Steven Takaoka, Akira
Kokoras, Panayiotis Tammen, Hans
Lem, Nolan Terzaroli, Anna
Lewin-Richter, Andres Vidiksis, Adam
Lough, Alex Warren, Kristina
34
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-9Music Program
Wednesday, May 29,18:30-21:00 Venue: Sala Unicaja de Conciertos María Cristina
Part I
Concert
Rui-Silva Duo
&
Dancers from the Conservatorio Superior de Danza de Malaga
1. Isaac Albéniz
Malagueña (Arranged for Cello and Piano by Joachim Stutschewsky)
2. Gaspar Cassadó
Requiebros
3. Manuel de Falla
Danza nº1 “La vida breve”
4. Enrique Granados
Danza nº5 “Andaluza”
5. Enrique Granados
Intermezzo de “Goyescas” (Arranged for Cello and Piano by Gaspar
Cassadó)
6. Joaquín Nin
Andaluza from “Suite española”
56
Part II
SMC. Music Session at Sala Unicaja de Conciertos María Cristina
SMC.1 Chris Rhodes
Duet for Violin and Biofeedback
SMC.2 John Granzow
Axes
SMC.3 Akira Takaoka
Piano Sinfonia
SMC.4 Ricardo Climent
Duel of Strings: Lorenzo Triviño (non-virtual violin) vs. Virtual Violin
- -
SMC.5 Amy Brandon
Seven Malagueña Fragments for Augmented Guitar
SMC.6 Lorenzo Ballerini, Massimo D’Amato and Alberto Gatti
Relazioni Digitali (Digital Relations)
SMC.7 Nicoletta Andreuccetti
Notturno Sole
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-9MUSIC PROGRAM 7
Thursday, May 30, 14:30-16:30 Venue: Sala de Grados B
ETSI Telecomunicación
14:30-16:30 M1. Music Session 1
M1.1 Arne Eigenfeldt
TinySounds: for voice and musebot ensemble
M1.2 Jeffrey Weeter
Pattern Portrait: Cork
M1.3 Man Jie
Enchanted AI
M1.4 Frank Pecquet, Fotis Moschos, David Fierro and Justin Pecquet
Piamenca
M1.5 Simon Blackmore
Cryptoguitar
M1.6 Scott Barton
Machine Rhythm Study No. 2
- -
M1.7 Te Hao
Nebula II
M1.8 Francesco Bossi
Acousmatic Scattering
M1.9 Sever Tipei
Quilt
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-98
Friday, May 31, 14:30-16:30 Venue: Sala de Grados B
ETSI Telecomunicación
14:30-16:30 M2. Music Session 2
M2.1 Gordan Kreković
An Excerpt from Hologram Space
M2.2 Martyn Harry, James Dooley and Jamie Savan
Palimpsest
M2.3 Gil Dori
"Tenir el cap ple de..."
M2.4 Joshua Tomlinson
A Short Story
- -
M2.5 Francesco Roberto Dani and Riccardo Novella
Mimesi
M2.6 Ji Won Yoon and Woon Seung Yeo
Childhood memories - distant but close
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-9Music Program Notes
Wednesday, May 29, 18:30-21:00 Venue: Sala de Conciertos María Cristina
Concert
Rui-Silva Duo
&
Dancers from the Conservatorio Superior de Danza de Málaga
The Rui-Silva Duo performs music from Spanish Composers (Isaac Al-
béniz, Manuel de Falla, Enrique Granados, Joaquín Nin) accompanied by the
art of dancers from the Conservatorio Superior de Danza de Malaga.
The Rui-Silva Duo was formed in 2004
by Sabrina Rui (cello) and Ana M. Silva
(piano) as the result of the interest of both
components for the study and dissemina-
tion of the Chamber music repertoire com-
posed for cello and piano. Their current
repertoire includes musical pieces from the
XVIII century to the present days including
Spanish repertoire, with a romantic touch.
Since its foundation, this duo has given nu-
merous concerts all across Andalusia.
Sabrina Rui and Ana M. Silva are
professors of cello and piano, respec-
tively, at the "Conservatorio Profesional
de Música Gonzalo Martín Tenllado" of
Málaga. They have in high consideration
the master classes that, periodically, they have received from Sergei Yerokhin
and Mischa Milman.
910
SMC. Music Session at Sala María Cristina
SMC.1 Chris Rhodes
Duet for Violin and Biofeedback
Duet for Violin and Biofeedback is a live interactive piece, for
Violin and Tape, which uses new wearable sensor technologies
(biosensors) to explore the relationship between performer and
performer biometric data. The piece incorporates the term ‘bio-
feedback’ for this reason. The piece is in two parts. The first
movement allows for the performer to play from a score, in uni-
son with a Fixed Media recording, which uses the acousmatic
medium to relay sounds inspired from trends observed in stud-
ied biometric data. The second movement, however, allows the
performer to interact with the piece: deciding its structure and
dictating how the piece will sound. They do this by wearing a
biosensor, to perform novel gestures (created via machine learn-
ing before the performance), which affect playback and musical
parameters of the Tape. Ultimately, this piece aims to explore
the discourse between music inspired by biometric data and mu-
sic composed from biometric data.
Duration: 9’ 20”
Year of Composition: 2019
Chris Rhodes: Doctor of Philosophy, Music Composition, NOVARS Research
Centre, University of Manchester, UK.
SMC.2 John Granzow
Axes
Luthiers use computer-controlled mills for the subtractive man-
ufacture of guitar components. These machines have multiple
motors stepping at variable rates to propel cutting tools in three
dimensional paths with corresponding pitch contours. Axes is
a work that brings these live robotic sounds of modern guitar-
making to the concert space. For this piece, stepper motors are
fixed to the neck, body and soundboard of an unassembled gui-
tar. The motors are driven in concert as the x, y and z axes of
a toolpath derived from a digital model of the instrument. The
pitched and noisy motors are filtered acoustically through the
guitar’s components and are captured via transducers to become
the source for subtractive synthesis. The actuation and vibration
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-9MUSIC PROGRAM NOTES 11
also make the guitar components mildly kinetic. MaxMSP is
used for the additional processing and to generate nebulous quo-
tations from the emerging guitar’s future/past repertoire, pro-
ducing a collage of fine motor skills, both machine and human.
Axes is a multichannel work that can be adapted to the channel
count in the space.
Duration: 8’ 00”
Year of Composition: 2019
John Granzow is Assistant Professor of Performing Arts Technology at the Uni-
versity of Michigan. He teaches musical acoustics, sound synthesis, performance
systems and digital fabrication. He initiated the 3D Printing for Acoustics work-
shop at the Centre for Computer Research in Music and Acoustics at Stanford.
His instruments and installations leverage found objects, iterative CAD design,
additive manufacturing and embedded sound synthesis.
SMC.3 Akira Takaoka
Piano Sinfonia
Piano Sinfonia consists of three sections in simple ternary form.
Lindenmeyer systems are extensively employed for the transfor-
mations of pitch-class sets and the generation of melodic figures
in every section. The L-systems are implemented in my own
computer program for algorithmic composition written in Java.
The Java program generated the piano part and score files for
RTcmix, which produced all the synthesized sounds.
I am always inclined to keep dynamics and tempo markings as
few as possible. I favor the flexibility of interpretation because
of my experience with the greatest piano teacher of mine. In ev-
ery Friday afternoon in his studio, to conclude his piano lesson
for me, he played one of J. S. Bach’s Concertos for Two Harpsi-
chords together with me. It was such tremendous delight for me
to explore inexhaustible possibilities of interpretation of those
great Concertos.
Duration: 6’ 10”
Year of Composition: 2018
Akira Takaoka is a leading composer of contemporary classical music and
music theorist in Japan. He has received many commissions and his compo-
sitions have been performed at major festivals worldwide such as NYCEMF,
ISCM World Music Days, ICMC, SEAMUS, and SMC in London, Copenhagen,
Venice, Florence, New York, Tokyo, etc. His music combines computer technolo-
gies, live performance, and visual arts, light art in particular. He also organizes
international festivals of contemporary classical and electroacoustic music in
Tokyo and other major cities in Japan.
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-912
He is currently a professor of music at J. F. Oberlin University, Japan, as well as a
lecturer at Tokyo University of the Arts, Temple University Japan Campus, and
Chuo University in Tokyo. He is also frequently invited to give lectures inter-
nationally. His research on atonal pitch organization, algorithmic composition,
and music cognition is internationally recognized at major conferences such as
ICMPC, SMPC, and ICMC.
He received a BA and an MA in philosophy from Keio University in Tokyo and
an MA and a PhD in music from Columbia University, where he was a Fulbright
scholar.
Prof. Victor López Rodríguez (piano) was born in Málaga in 1977. He started
his musical studies at the Conservatorio Superior de Música de Málaga, where
he developed his piano career under the supervision of José Eugenio Vicente
Téllez and Alfredo Gil Pérez, and his organ career with Adalberto Martínez
Solaesa.
He perfected his technique with Isabella Tammik, Dimitri Baskirov, Ramón Coll,
Neal Peres da Costa, etc.
Prof. López Rodríguez is awarded as the best young soloist of the year by
Granada Juventudes Musicales in 1995. Moreover, he has been member of the
Contemporary Music Workshop of the University of Málaga, giving concerts in
different cities of Spain, like the Music Festivals of Granada, Bilbao, Madrid,
Cádiz, Sevilla, etc. He has recorded various discs, the last one with the so-
prano Alicia Molina entitled "Música para voz" (Music for Voice), Andalucian
Contemporary composers.
López Rodríguez is member of Passacaglia duet together with Mr. Juan Manuel
Santos, giving concerts in Spain and Germany.
In addition, he has been invited as professor at the International Musical Festival
Martín Codax and at the Villa de Canena Festival. Nowadays he is a teacher at
the Conservatorio Superior de Música de Málaga.
SMC.4 Ricardo Climent
Duel of Strings: Lorenzo Triviño (non-virtual violin) vs. Virtual Violin
Bach versus Marchand, Steibelt vs. Beethoven, Kaila Mullady
vs. Chiwawa . . . from classical music to beat boxing, skillful mu-
sicians have historically challenged each other to a contest but
rarely played against machines. Terms and rules of these musical
battles are always clearly set and may include a range of virtu-
osic exercises, inventive improvisations, imitations and call-back
defiant musical gestures. In most cases performers seek humili-
ating defeats or engaging in collaborative playing. This compo-
sition makes use of game-engine technology to feature a musical
battle between non-virtual and virtual strings. It explores mu-
sical interactivity across “rounds”, as sonic miniatures focused
on restricted ideas which range from solo plucked strings and
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-9MUSIC PROGRAM NOTES 13
scratch tones to Musikalisches Würfelspiel notation-like cards.
Competitive rounds lead to an open-form playground where an-
thropomorphic strings navigate and compose the virtual space.
The piece’s concept is a GAPPP commission in response to an
article by Olli Tapio Leino (City University of Hong Kong), a
philosophy of computer games and new media art scholar, on
the topic of “Performing and Audiencing Profound Boredom”.
Climent has made extensive use of his virtual instrument cre-
ations to battle nonvirtual performers such as, Sigma Project
(Saxophone Quartet), Shuxin Meng (pipa player), Marij Von
Gorkom (bass clarinet), Mark Pilkington (VCS3), Rodrigo de
León Garza (Modular Synth), Miquel Bernat (Timbila) and Dar-
ragh Morgan (violin).
Credits: Alena Mesárošová | Manu Ferrer: 3D models, concept
design.
Duration: 9’ 00”
Year of Composition: 2018
Ricardo Climent is Professor of Interactive Music Composition at University
of Manchester, UK, where he serves as director of the NOVARS Research Cen-
tre and as head of Composition. For the last few years his research has focused
on the potential of game-audio, physics and graphic engines for compositional
purposes, using ‘the aural’ as the primary source for navigation and exploration.
He previously held a lecturing position at SARC, (Sonic Arts Research Centre,
Belfast), served as resident composer at the JOGV Orchestra, Spain; Conser-
vatorio of Morelia in Mexico; Sonology - Kunitachi College of Music, Tokyo;
LEA labs, at the Conservatorio of Valencia; the Cushendall Tower- In you we
trust; Northern Ireland, at CARA- Celebrating Arts in rural Areas, cross-border
Ireland, N.K. Berlin and at the Push Festival, Sweden.
Ricardo co-started collaborative projects, such as: The Microbial Ensemble, (mi-
crobial sonification project with Dr Quan Gan), The Carxofa Electric Band (a
children’s workshop with vegetables and Electronics with Dr Iain McCurdy), The
Tornado-Project (a cross-atlantic trio project with Esther Lamneck (clarinet) and
Elizabeth McNutt (flute)), Drosophila (a dance-theatre tour of a blind fly with
KLEM and Idoia Zabaleta), Ho- a sonic expedition to Vietnam, (a game-audio
work), S.LOW, (a cross-disciplinary project in Berlin involving artists from 34
countries around the world), LocativeAudio Research Network (co-run by PG
students at NOVARS), the Timbila Project ( with Miquel Bernat), CitizenUrge,
(with DJ Slim Vic, Sweden), "[5]" -Valencia 1939, including geo-locative data,
and "Putney" with Alena Mesarosova, Manuel Ferrer and Mark Pilkington and
started the dutch-UK.network 58/58.
In terms of education, prior to completing a PhD in Electroacoustic Music Com-
position and a Master of Arts in the same area (both at The Queen’s Univer-
sity of Belfast), he obtained a five-year degree in Economics at University of
Valencia, Spain and a 3-year degree by FUFAP, Alcala de Henares University
(Madrid)/UPV.
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-914
Lorenzo Triviño (violin) was born in Málaga, he graduated in Violin and
Chamber Music in the Conservatorio Superior de Música of the aforementioned
city. At the same time, he is attending, during two years, technical and inter-
preting classes given by the violinist Manuel Guillén in Madrid. In May 2002,
he completed an Artist Certificate Program at the University of Wisconsin –
Madison School of Music, under the supervision of Prof. Vartan Manoogian.
In July 2002 he obtained a position as music teacher in Junta de Andalucía.
Being a Doctor by the University of Málaga, he is on secondment since 2003
at the department of Cuerda-Arco at the Conservatorio Superior de Música de
Málaga. Nowadays, he is combining his teaching activity with research activities
and with an intense concert agenda, with concerts both on a national and an
international level.
SMC.5 Amy Brandon
Seven Malagueña Fragments for Augmented Guitar
In listening to and exploring traditional Malagueñas, I was struck
by how often they seemed like collections of miniatures. I took
small elements of these pieces, a rhythm, or a bass melody, and
worked them into my own sound-world, with electronics trig-
gered from the digital realm via the guitarist’s hand movements
and the Metavision headset.
Duration: 5’ 00”
Year of Composition: 2019
Amy Brandon, composer and guitarist Amy Brandon’s pieces have been de-
scribed as ‘... mesmerizing’ (Musicworks Magazine), "Otherworldly and med-
itative ... a clashing of bleakness with beauty ..." (Minor Seventh) and ‘.. an
intricate dance of ancient and futuristic sounds’ (Miles Okazaki). Recent and
upcoming 2018-19 events include premieres by Ekmeles (NYC - ICEBERG New
Music), Chartreuse Trio (Music in Bloom, Indiana), Winnipeg Symphony Or-
chestra, Pro Coro (Banff Centre), trombonist Dale Sorensen, Continuum Con-
temporary Music Ensemble (PIVOT) as well as performances at Music in New
Technologies (CAN) and New Music Edmonton.
She has received Canadian and international composition awards and honourable
mentions from the ACWC, Central European String Quartet, Groundswell and
RMN Classical (Europe). Her 2016 solo guitar and electronics album ’Scav-
enger’ was nominated for regional awards including Music Nova Scotia and
ECMAs in 2017/18. She has performed in Canada, the USA, Australia, Brazil,
New Zealand, the UK and at several festivals including the Ottawa International
Jazz Festival, the Guitar Now Festival, Halifax Jazz Festival Spring Series, Some-
thing Else!, Sound Symposium, the International Society for Improvised Music,
BeAST FeAST and the Open Waters Experimental Music Festival. She has been
a resident at the Banff Centre, the Atlantic Centre for the Arts and a composer
participant in Interplay with the Vancouver Chamber Choir.
In addition to performance and composition, she writes and presents academic
work concerning music cognition, virtual reality, improvisation and the guitar.
Holding degrees in jazz guitar performance and composition, Amy is currently
completing an interdisciplinary PhD in music cognition at Dalhousie University
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-9MUSIC PROGRAM NOTES 15
in Halifax, Nova Scotia. She has presented her work at conferences in Australia,
USA, Switzerland, Hungary, the UK and at Berklee College of Music, Boston.
Emma Rush. Over the past decade, Emma Rush has established herself as one
of Canada’s preeminent classical guitarists. Known for her innovative program-
ming and powerful stage presence, along with her warm sound and virtuosic
technique, an event with Emma Rush is one to remember.
“She captivated the audience with her charm, wit and technical prowess” Franken-
post, Germany
Emma Rush’s career has commanded world recognition. Recent touring high-
lights include a four-city tour in China, starting with the Altamira Shanghai
International Guitar Festival, appearances at major guitar festivals including
Festival de Guitarras Lagos de Moreno (Mexico), the Nyköping Gitaarsemi-
narium (Sweden), the Montreal International Guitar Festival, and a prestigious
concert at the Internationales Gitarren Symposion, Iserlohn (Germany). She
tours throughout North America and in 2016-17 toured extensively in Eastern
Canada as a Debut Atlantic artist. She performs regularly as Azuline Duo with
flutist Sara Traficante. The duo toured Alberta, BC, and Yukon Territory in
2018/19. Rush was featured in the McMichael Gallery’s Group of Seven Guitar
Project documentary alongside such notable guitarists as Bruce Cockburn, Jesse
Cook, and Don Ross. Rush completed two residencies in 2018 at the Sointula
Art Shed in British Columbia and in Lübeck, Germany through the women’s
organization GEDOK.
Rush is an award-winning artist and in addition to being a prizewinner at the
Columbus International Guitar Competition and the Great Lakes Guitar Com-
petition, she has received three City of Hamilton Arts Awards, and has had
her work supported by the Canada Council for the Arts, Ontario Arts Council,
Hamilton City Enrichment Fund, and FACTOR.
Composers are eager for Emma Rush to perform their music and she has had
works dedicated to her by the Canadian composers William Beauvais, Amy Bran-
don, and Timothy Phelan and the Mexican composer Winy Kellner. Rush will
be premiering a new work by Amy Brandon at the Music and Sound Computing
Conference in Malaga, Spain in May 2019.
Emma Rush can be heard on the albums Canadiana (2017), Folklórica (2014),
and Romanza (2016- Azuline Duo). Her latest project, an album of rare 19th
century guitar music written by female composers will be released in the fall of
2019.
“Rush’s technique is flawless throughout. . . ” The Whole Note
Rush completed her post-graduate studies at the Hochshule für Musik in Det-
mold, Germany, following an honours Bachelor of Music degree from Dalhousie
University in Halifax, NS. She holds faculty appointments at Mohawk College
and Redeemer University College in Hamilton. She has been a guest lecturer
at colleges and universities throughout North America and was an Artist-in-
Residence at the Fountain School of Performing Arts at Dalhousie University in
the fall of 2016.
Rush is the Founder and Artistic Director of the Guitar Hamilton concert series
that includes the Hamilton International Guitar Festival. She is the co-director
of the Lonestar Guitar Festival in Texas.
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-916
SMC.6 Lorenzo Ballerini, Massimo D’Amato and Alberto Gatti
Relazioni Digitali (Digital Relations)
In electronic music, the use of a laptop changes the intuitive vi-
sion of performance. It does so to the extent that the immediate
sensation of the proximity of human intervention is less useful to
understand the musical experience. We argue that such a tech-
nological impasse is worth exploring by specifically investigating
the various compositional and performance methods related to
new technologies. On these premesis, we aim to reflect on the re-
lationship between music and society, gesture and sound, vision
and listening.
Accordingly, this composition is based on human presence and
light that are used to conceal or reveal the various aspects of
performance in a timely manner and on the dichotomy between
action and autonomous control of the laptop, continually over-
turning the man/machine relationship.
LEDs, we show, also play a fundamental role for the enjoyment
of the musical event. This performance shows that the ability
to see musical action allows for a greater sensitivity to the role
played by the eye in the perception of the musical experience.
We search then a visceral relationship between electricity, vision
and sound.
Duration: 7’ 30”
Year of Composition: 2018
Lorenzo Ballerini, composer, performer and sound designer. Graduated at
Luigi Cherubini Conservatory of Florence in Music and New Technologies. He
has always cultivated a passion for music, technology and design.
In 2016 and 2017 he brings his compositions "The origin of species" and "Perse-
verance" for tape and instrumental ensemble in New York at the Loewe Theater.
He has participated in Florentine festivals such as Il corpo / La luce / Il suono,
Meff and Diffrazioni Multimedia Festival in which he also held the role of tech-
nical director.
In May 2018 he collaborated as sound designer for Juliae - for Choir and Tablets,
composed by Girolamo Deraco and premiered at the International Festival of
Sacred Music Sanctae Julie, 4th Edition, Sala Canaviglia of the Old Fortress of
Livorno. The collaboration with Deraco continues for Dr. Streben (world pre-
miere), Robot chamber opera for soprano, tenor, baritone, robot and ensemble
at Gran Teatro Giacomo Puccini.
In the same year he participated at SMC2018 as electronics executor for Nico-
letta Andreuccetti’s piece - Resounding Resonances. He made his debut at the
Tempo Reale Festival, Klang Experimental Music # 9, as executor for Ideale by
Giorgio Sancristoforo. The sound designer’s work also arrives outside Italy for
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-9MUSIC PROGRAM NOTES 17
the Gala concert on the 20th anniversary of the Kazakh National University of
Arts, Astana, Kazakhstan Central Concert Hall.
In February 2019 he won the call for artists of Bright Festival with his perfor-
mance "Digital Relations" born from the research on gesture conducted in the
various artistic research laboratories in music promoted by the Orpheus Insti-
tute of Ghent, the Luigi Cherubini Conservatory in Florence and the Giuseppe
Verdi Conservatory in Milan and supported in particular by professors Tiziano
Manca, Francesco Torrigiani and Gabriele Manca.
He has collaborated with composers and performers including Girolamo Der-
aco, Alvise Vidolin, Giorgio Sancristoforo, Michele Marasco, Nicola Sani, Roberto
Fabbriciani, Alberto Maria Gatti, Nicoletta Andreuccetti.
Massimo D’Amato approached the world of music in his childhood, studying
piano and drums until middle school. At an early age he began his interest in
the generation and production of electronic music. He has forked closely with
freelance artist and independent labels around the world that specialize in the
production of electronic music. His preference for live performance led him to
study the use of the sophisticated manufacturing techniques and live interaction,
which allow the management and control of refined acoustic sound in real time.
Graduated in sound design at the conservatory G.B. Martini Bologna, Massimo
has a peculiar style that is based on in-depth and meticulous research, which
allows developed by software with an aesthetic and refined linguistic choice.
His capabilities in developing works along several dimensions have allowed him
to broaden his thematic and stylistic choices.
Alberto Maria Gatti was born in La Spezia (Italy) in 1992, is a composer
and a computer music designer. He graduated at the Conservatory of Florence
in “Electronic Music” and “Music and New Technologies” with Marco Ligabue
and Simone Conforti. He attended also many composition masterclasses with
Vittorio Montalti and Girolamo Deraco, music for dance with Roberto Castello
(Aldes) and Sound Direction with Alvise Vidolin.
His works have been performed in many festivals and theaters, among others,
Museo del 900 (Florence, Italy), Palazzo Vecchio (Florence), Collisioni Festival
(Turin), Diffrazioni Festival (Florence), Chuafuonna (Tunisi), Tempo Reale (Flo-
rence), Sermoneta (Latina), Thin Edge New Music Collective (Varese), Cluster
Association for Contemporary Music (Lucca), SIMC (Bari).
He worked for Rete Regionale dei Flauti della Toscana winning the Abbiati
School Prize in 2015, Abbazia di Spineto, Aldes, Compagnia Simona Bucci,
Gruppo MUD, Conservatory of Florence, K-Array Industries and many others.
Currently he’s working on his artistic research project and as freelance composer.
SMC.7 Nicoletta Andreuccetti
Notturno Sole
The fragment of the On the Nature of Things by the Roman
poet and philosopher Lucretius, a text that will gradually emerge
along the course of the piece, through the sussurrato of the flutist
in the instrument, builds the image (and metaphor) around which
the form of the piece develops. On stage two narrative virtual
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-918
spaces that contrast dialectically, organically and interactively
through machine learning techniques that manage the multi-
channel spatialization of acoustic and electronic sounds.
The first is an ‘inner’ landscape, built by the ML that gives
life to a mobile, living, organically shaped reverberation by the
gestural sounds of the performer. The second is an ‘external’
landscape, a digital flow almost deafening, ‘seen’ through the
inwardness: the gestures of the acoustic instrument once again
detected by the ML ’recall’ from time to time the electronic ma-
terials, moving them in space, as an alter ego antithetical of the
performer.
Duration: 7’ 00”
Year of Composition: 2018
Nicoletta Andreuccetti is an Italian composer of acoustic and electronic con-
temporary works. She studied piano at the Music Conservatory of Cagliari,
electronic music at the Music Conservatory of Florence and composition with
M. Bonifacio and A. Solbiati at the Civica Scuola di Musica Claudio Abbado
of Milan. She specialized with K. Bogino for the piano and Ivan Fedele for the
composition at the Accademia Musicale Pescarese, attending also master classes
with H. Dufourt B. Mantovani, S. Sciarrino.
She has enriched her musical training developing a variety of interests ranging
from musicology to aesthetic and psychology of music. She is currently a PhD
candidate in Musicology at the University of Toulouse (France). Her research
work focuses on the application of physical modelling synthesis to the composi-
tional practices.
In 2009, she won the 1st prize at the International Electroacoustic Music Compe-
tition Musica Nova in Prague with S’i fosse foco II, for female voice and electron-
ics, which was recorded by Barbara Zanichelli for Nova Music Edition. In March
2012, she won the 1st prize at the Utrecht Dutch Harp Composition Contest
with Mouvements selected, also, for the International Gaudeamus Music Week
2012 and performed by Gwyneth Wentink. The 56th Festival of Contemporary
Music of the Biennale di Venezia (2012) has commissioned to her Figurazioni
dell’invisibile for Architecture Sonora’s sound interactive installation. In May
2013, she was composer in residence in the Steinhardt Department of Music and
Performing Arts at New York University for the realization of Dall’oscuro II, for
bass clarinet and live electronics, performed at the Frederick Loewe Theatre in
New York. In the same year, in collaboration with the artist Nicholas Naughton,
has participated with her work Shadows at the multimedia installation Disaster
of War in The New Horizons Music Festival at the University Art Gallery of Tru-
man State University, USA (Missouri). For the project Alla Battaglia! (2014), in
collaboration with Umbra Lucis Ensemble and the RSI (Radio-Television Italian
Switzerland broadcast), she wrote Del Visibile dell’Invisibile inspired by the lost
Leonardo Da Vinci’s fresco on the battle of Anghiari, for six voices and fifteen
renaissance instruments.
Her music has been performed in the most significant international festivals:
Achantes Festival 2009 (Metz, Paris), ISCM World New Music Days Festival
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ISBN 978-84-09-11398-9MUSIC PROGRAM NOTES 19
2011 (Music Biennale Zagreb), Biennale di Venezia 2012, Festival Music and
Performing Arts (New York University 2013), Orchestra Sinfonica di Lecce 2013,
Festival Spaziomusica of Cagliari 2013, Festival Suoni Riflessi 2013 (Florence),
Suoni Inauditi 2014 (Livorno), Multimedia Festival DiffrAzioni 2014 (Florence),
Festival Alla battaglia! 2014 in collaboration with RSI (Radio-televisione Svizzera
Italiana), Expo 2015 (Milan), I Pomeriggi Musicali 2016 (Milan), New York City
Electroacoustic Music Festival 2016, 12th International Symposium on Com-
puter Music (CMMR) São Paulo, Univers Sonores Parallèles 2016, Teatro La
Fenice 2016 (Venice), GAMO. 2016 (Florence), ICMC World New Music Days
2016 (Utrecht), 19th LONDON NEW WIND FESTIVAL 2016, EMUFest – In-
ternational Electroacoustic Music Festival 2016 (Rome), The Boston New Mu-
sic Initiative 2016, Festival Ecos Urbanos 2016, NWEAMO FESTIVAL 2016 in
Tokyo, Bateau-Lavoir Electroacoustics 2017 (Rimini), ISCM World New Music
Days 2017 (Vancouver), and many others.
Lorenzo Ballerini (live electronics). See SMC.6.
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-920
Thursday, May 30, 14:30-16:30 Venue: Sala de Grados B
ETSI Telecomunicación
M1. Music Session 1
M1.1 Arne Eigenfeldt
TinySounds: for voice and musebot ensemble
Intelligent agents – musebots – respond to live input: quiet sounds
made by the voice. Musebots are autonomous musical agents that
interact with other musebots, as well as human performers, to
create and perform music. Musebots communicate through mes-
sages; in this work, one musebot analyses the live performance,
and messages its data to the other members of the ensemble, who
individually decide how to react to the information. As such, the
audio musebots don’t “listen” to the live input, and instead react
to the data.
Duration: 10’ 00”
Arne Eigenfeldt is a composer of live electroacoustic music, and a researcher
into intelligent generative music systems. His music has been performed around the
world, and his collaborations range from Persian Tar masters to free improvisors to
contemporary dance companies to musical robots. He has presented his research
at major conferences and festivals, and published over 50 peer-reviewed papers
on his research and collaborations. He is a professor of music and technology at
Simon Fraser University.
M1.2 Jeffrey Weeter
Pattern Portrait: Cork
Pattern Portrait: Cork is composed for an ensemble of four Pos-
sibility Box performers. The Possibility Box is a newly designed
realtime instrument in a wooden box featuring potentiometers,
switches and distance sensors with a Raspberry Pi at its core.
There is one performer per box. Each box plugs into its own
speaker onstage. The output can also be mixed to a stereo feed
for the PA system.
Pattern Portrait: Cork is an audiovisual composition continuously
developing its form through the musical and visual exploration of
the rhythmic cycles and patterns generated by the traffic data of a
Cork City motorway and the water levels of the River Lee. Each
automobile on the highway at a given time is represented by both a
note and an image. The river levels determine the drone volume.
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-9MUSIC PROGRAM NOTES 21
This data is sent to each Possibility Box where the performers
improvise with synthesis, timbre and real-time video.
Duration: 6’ 00”
Year of Composition: 2019
Jeffrey Weeter composes music, designs real-time multimedia instruments, plays
the drums and performs musically with technology. He is director of the Cork
Audio Visual Ensemble (CAVE) which performed “The Box” at the International
Computer Music/Sound and Music Computing Conference in Athens, Greece. His
work was also recently performed at Kunsthaus in Zurich, the !f Istanbul AFM
International Independent Film Festival, and the Cork Film Festival. During 2011
and again in 2012, collaborations with electronic musician Kate Simko toured the
world, touching every continent.
As an educator, Dr Weeter created the first music composition MOOC (Massive
Open Online Course) of it’s kind in collaboration with Kadenze, leaders in learn-
ing creative technologies online. The course "Loop: Repetition and Variation in
Music", has been taken by thousands across the globe.
He completed his Doctorate in Music Composition from Northwestern University,
served five years as an audio engineer for the Emmy winning “Oprah Winfrey
Show”, Harpo Studios, Chicago and is currently a Lecturer in Music Composition
at University College Cork, Ireland.
M1.3 Man Jie
Enchanted AI
This piece was created during my recent study on algorithmic com-
position and artificial intelligence technologies.
The basic sound material is made with the help of software such as
Open Music, Max / Msp, Omax, Audio Sculpt, in which, recorded
sound (such as Inner Mongolian folk music, the sound of the ty-
phoon in Tokyo) have been transformed into various interesting
sounds.
With the help of AI technologies, I was able to explore the struc-
ture, harmony, rhythm and the musical texture in a new way.
Duration: 7’ 56”
Man Jie, born in Inner Mongol, China. She graduated from Inner Mongol Uni-
versity Art Institute department of Music, specialty Piano and received the master
degree from the Graduate School of the same. She studied in Japan since 2011 and
got her second master’s degree in Composition from Tokyo University of Arts. She
is currently pursuing a Ph.D. degree in composition for electro-acoustic & instru-
mental music. Her work has been collected by Tokyo University of Arts Museum,
and she was invited from Contemporary Music Festival Present of Orchestral Asia
2015, her works were premiered in the 2016 International Workshop on Computer
Music and Audio Technology (FORUM IRCAM-WOCMAT Taiwan 2016), Seoul
International Computer Music Festival 2017, SMC2018, ICMC2018. Her music is
regularly performed mainly in China and Japan.
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-922
M1.4 Frank Pecquet, Fotis Moschos, David Fierro and Justin Pecquet
Piamenca
The TransTeamProject(T3P) works on developing interactive gloves
technics - and other materials, with sound and/or visual samples.
Piamenca continues the work developed in Transpiano with a spe-
cific emphasis on visual content such as transforming sound into
lights, in this case together with a strong vernacular inspiration
(Flamenco). T3P creative project is involved with art music to-
gether with techno-perspectives. While the audio system uses Blue-
tooth gloves system connected to an Arduino card, the light system
uses one led strip of five meters and four led light spots. The whole
system is controlled by another Arduino card which receives the
information coming from the software by the USB port. As the led
strip shape can be modified, we use it to interact with the space
to generate shadows and light movements. The four directional
led lights are placed behind the musician in order to play with the
space perceived by the audience. A score will be produced.
Duration: 7’ 00”
Year of Composition: 2019
Frank Pecquet was born and resides in Paris, France, French nationality. Com-
poser, musicologist, author of works in acoustic and electronic music and articles
on contemporary music. PhD in musicology/composition - Paris and San Diego
Universities (UCSD). Teacher/Researcher in computer arts at the University of
Paris1, Pantheon-Sorbonne. Researcher with the ACTE institute (Art Creation
Theory and Esthetics) and Ircam.
Last major work Mindscape (https://soundcloud.com/fpecquet/mindscape), for or-
chestra and electronics, Commissioned by Radio France. Currently working in the
field of sound design, acoustical ecology and interactive music composition.
Fotis Moschos was born in Athens, Greece. Graduated from the Department
of Music Studies/University of Athens (2012) with a piano performance degree
(2011, "Entechnon Conservatory"). Master with “excellent” honors in "Theory,
Practice and Evaluation of Educational Project/ Direction of Digital Technologies
in Education". Developed the innovative software "Fonaskein" that improves tonal
accuracy singing through visual feedback. Works currently as a sound engineer
and music software developer in Max/MSP.
David Fierro. Born in Columbia, resides in Paris, France. Electronic engineer,
researcher and director in computer music. PhD student in music and neuro acous-
tics. Software and hardware developer, (CNRS, Ircam), Research and teaching
institutions (Paris1, Paris5, Paris8 Universities).
Actual research on "Synchronization of brain waves: a method of composition"
From an analysis of neuro acoustic effects and the close relationship between sound
spatialization and synchronization of brain waves. How to create a composition
method for brain wave training based on these observations? (Paris 8 - EDESTA -
CICM).
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-9MUSIC PROGRAM NOTES 23
Justin Pecquet. Born in Paris, France, resides in Berlin, Germany, with French-
American nationality. Piano performer, music composer, written and improvised
music. Actually, living in Berlin and studying music at the University of the Arts,
Berlin (UDK, Universität Der Kunste), JIB ( Jazz Institute of Berlin). Member of
the Urban Base Community in Berlin. Currently self-producing music, previous
post, “The Korean Kat” (https://www.youtube.com/watch?v=o7aPZYU83i8).
M1.5 Simon Blackmore
Cryptoguitar
In this performance I will play an improvised piece of guitar music
where the movements of my right hand execute rhythmic binary
patterns to produce text. The work is the result of research into
musical cryptograms, codes and secret messages encoded into in-
strumental music and an exploration of real time rhythmic com-
puter interaction. The work also draws inspiration from my time
studying flamenco guitar with artists such as Jose Manuel Leon
and Gerardo Nuñez.
Custom technology has been developed to produce this work. A
light based guitar pickup captures the movement of each guitar
string. Another circuit based on a serial interface interprets each
note played as a 1 and silence as 0. The resulting binary patterns
are then translated into ASCII text which is revealed live to the
audience. The result is a playful exploration of the space between
music, meaning, code and live interaction.
Duration: 8’ 00”
Year of Composition: 2019
Simon Blackmore makes performative sculptures and installations using sound
and custom-made technology. Since gaining a First Class Honours degree in Sculp-
ture at The University of Wales Institute, Cardiff in 1999, and an MA in Creative
Technology at Salford University in 2001, he has received numerous commissions
and exhibited in galleries Internationally.
In 2006 he was nominated for the Becks Futures Prize, he was artist in residence in
Universidad de Los Andes, Bogota, Colombia in 2007, and in 2008 he was awarded
the Berwick Gymnasium Fellowship. In September 2013 his work was presented in
a solo show at Aldrich Contemporary Art Museum, Ridgefield, USA.
He is also a founding member of the art group Owl Project. Known for their
distinctive range of wooden musical and sculptural instruments. Owl Project won
the Urbis Best of Manchester award in 2009.
In 2012 their project Flow was launched in Newcastle and attracted over 50,000
visitors. Owl project have performed and exhibited internationally, including per-
formances at Les Urbaines Festival (Lausanne, Switzerland), SARC, (Belfast, Ire-
land) 2009, and a solo show at Lydgalleriet, (Bergen, Norway) 2008. Their recent
work was presented in a solo show at Bildmuseet, Umeå, Sweden in August 2013.
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-924
M1.6 Scott Barton
Machine Rhythm Study No. 2
Machine rhythms are temporal organizations that are realized by
the precise timing capabilities of computers and electromechani-
cal musical instruments. They deviate from configurations whose
intervals consist of low-integer ratios (the kind found in traditional
notation and commercial DAWs) in ways that escape the domain
of expressive timing. This work explores the temporal dimension
within which these machine rhythms are both distinguished from
and blended with their low-integer-ratio counterparts. The result
is a variety of different kinds of grooves: some are straight, some
are lopsided. An experimental aspect of the work asks to what ex-
tent symmetry and displacement contribute to our sense of groove.
The software tool Cycletron, an interface for generating rhythms
based on circular representation of time, was used to create the
patterns. The improvisatory nature of the work is meant to illu-
minate how a novel interface can influence compositional choices
and inspire creativity.
Duration: 6’ 35”
Scott Barton composes, performs, and produces (electro)(acoustic) music; con-
ducts psychological research; and develops musical robots. His interests include
rhythmic complexity in beat-based contexts, stylistic heterogeneity, perceptual or-
ganization, instrument design, machine expression, human-robot interaction, im-
provisation, and audio production. He founded and directs the Music, Perception
and Robotics lab at WPI and co-founded Expressive Machines Musical Instruments
(EMMI), a collective that designs and builds robotic musical instruments. As a re-
searcher, programmer, and author, his work in rhythm perception and production
has been published in journals such as Music Perception and Acta Psychologica .
He is active in the world of audio production as a recordist, mixer and producer.
His most recent album Stylistic Alchemies (Ravello Records) features electroacous-
tic works that illuminate the creative potential of the studio in the synthesis and
juxtaposition of musical genres. His compositions have been performed through-
out the world including at SMC; ICMC; SEAMUS; CMMR and NIME. He is an
Associate Professor of Music at Worcester Polytechnic Institute. scottbarton.info
M1.7 Te Hao
Nebula II
In astronomy, ‘nebula’ is a cloud of gas or dust in outer space,
visible in the night sky as an indistinct bright patch or a dark sil-
houette against other luminous matter. I was particularly inspired
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-9MUSIC PROGRAM NOTES 25
by the dark silhouette that are manifest clearly in different images
photographed. As such, I originally composed this work.
Duration: 4’ 48”
Year of Composition: 2019
Te Hao, composer, born in Inner Mongolia, China. He is doctoral student in
Musashino Academia Musicae, Tokyo, Japan, majoring in composition for electro-
acoustic & instrumental music. He was invited from Contemporary Music Festival
Present of Orchestral Asia 2016, his works were premiered in the 2017 Interna-
tional Workshop on Computer Music and Audio Technology (FORUM IRCAM-
WOCMAT Taiwan 2017), ICMC2018. His music is regularly performed mainly in
China and Japan.
M1.8 Francesco Bossi
Acousmatic Scattering
Since the increasing attention paid by electroacoustic composers
to audiovisuals developed a particular form of expression, in which
frames and music seem to be united in a common language, this
work investigates the subtle connection between pictures and sound
as a source of inspiration. The basic idea is represented by the
artistic evolution of the oscilloscope. The idea is that there is
almost no sound that is not related to its visualization. If the
perception of sounds depends on our visualization of it, then a
visualization can hardly exist without external sounds.
The algorithmic animation has been realized with the aid of the
Vsynth package of Max.
The acousmatic tool (which we could define as a "creative" reader
of audio files or wavetables) was designed and created as a Max
MSP standalone. Furthermore, the effort was also to join electroa-
coustic music with something from jazz, trying to unite two worlds
not so close to each other.
Duration: 5’ 58”
Year of Composition: 2019
Francesco Bossi is a composer whose work includes acoustic and electroacoustic
music, video and multimedia installations. He holds degrees from University of
Bologna and Conservatorio di Milano where he graduated with highest honours
in Electronic Music. His research is currently focused on the production of algo-
rithmic computer based custom synthesizers. His effort is to share contemporary
music beyond academic audiences. His works have been performed by Orches-
tras, Ensembles and soloist, and are often selected by international festivals and
concerts.
He has been awarded first price in "The Sounds of Music" competition, (Villa
Arconati Milan, 2012). Recently he has been invited to Naples (2012), Florence
(2014 and 2016), Padua, Venice (2014), New York City (2014, 2015, 2016, 2017 and
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-926
2018), Denton (Usa) - ICMC (2015), Singapore (2015), Valencia (2015), Statesboro
USA (2016), Bourges (2016), Sao Paulo (2016), Matera (2016), St. Cloud, Usa
(2017), Livorno (2017), Como (2017), Seul (2017), Cyprus (2018), Daegu (ICMC
2018), Firenze (Diffrazioni Multimedia Festival) March 2019, Saint-Etienne (Art &
Science Days 2019) May 2019, New York City (NYCEMF - ICMC 2019) June 2019.
M1.9 Sever Tipei
Quilt
Quilt, for fixed media, is a computer-assisted composition that
explores - in order - three sound synthesis methods: granular, ad-
ditive, and FM - all realized with DISSCO, a Digital Instrument
for Composition and Sound Synthesis developed at the Computer
Music Project of the University of Illinois and Argonne National
Laboratory. Similar to a Haiku, the first line contains five ele-
ments, the second seven, and the third again five, creating a quilt
of seventeen juxtaposed textures.
Duration: 3’ 00”
Year of Composition: 2015
Sever Tipei was born in Bucharest, Romania, immigrated to the United States in
1972 and became a U.S. citizen in 1978. He holds degrees in composition from the
University of Michigan and in piano performance from the Bucharest Conservatory
(now National University of Music at Bucharest). Sever Tipei has been teaching
since 1978 at the University of Illinois School of Music where he manages the
Computer Music Project . of the UIUC Experimental Music Studios . MP1, his
program for computer-assisted composition in use between 1973 and 1998, was
the first such program to be implemented on a supercomputer ( NCSA’s CRAY
X-MP), in 1986. Sever Tipei also had a Faculty Appointment (visiting scientist) at
the Argonne National Laboratory between 1994 and 2003. In collaboration with
Hans Kaper, Senior Mathematician (now retired), at Argonne Tipei worked on
developing an Environment for Music Composition (EMC), that included software
for composition, sound synthesis, automatic music notation, and visualization of
music in a virtual environment. Tipei and Kaper have also pursued the sonification
of complex scientific data. A more recent project, DISSCO, a Digital Instrument
for Sound Synthesis and Composition, available on sourceFORGE.net represents
a unified approach to composition and sound synthesis.
Tipei regards the computer as a collaborator whose skills and abilities comple-
ment those of the human artist. He sees the composition of music both as an
experimental and a speculative endeavor that delivers a particular world view.
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-9MUSIC PROGRAM NOTES 27
Friday, May 31, 14:30-16:30 Venue: Sala de Grados B
ETSI Telecomunicación
M2. Music Session 2
M2.1 Gordan Kreković
An Excerpt from Hologram Space
Music for Hologram Space (a contemporary choreography) re-
lies on an exploratory approach to live coding characterized by
radical reductions in the improvisation process and used sound
sources. Instead of writing code from scratch, the improvisational
aspects are limited to executing and modifying previously writ-
ten parts of code. The performative practice brings incremental
changes to the complex code that evolves and enables new inter-
ventions during live performances. The focus shifts from build-
ing basic musical structures to manipulating the generative pro-
cess with more inherited details and complexity. The music is
entirely created using samples of an old electromechanical piano
confronting the algorithmicity of live coding with the imperfec-
tion of physical sound sources. The generative process defined
by the program code significantly reshapes intrinsically tonal and
timbrally consistent material in order to achieve a diversity of tex-
tures, minimalistic melodies, and isorhythmic patterns that create
unique aesthetics.
Duration: 7’ 00”
Year of Composition: 2018
Gordan Kreković was born in Zagreb, Croatia in 1986. He received B.S. degree
in Computer Engineering in 2008, M.S. degree in Information and Communica-
tion Technology in 2010, and PhD degree in Computing in 2016 at the Faculty of
Electrical Engineering and Computing, University of Zagreb. He graduated with
great honours and received the Rector’s Award, two Dean’s Awards, and multi-
ple scholarships of the City of Zagreb. Since 2010, he has worked in several IT
companies on R&D and management positions.
Gordan is an active researcher and practitioner in the field of computer music tech-
nology. He composed music for contemporary choreographies Xerophytic Garden
and Hologram Space, experimental film Cities I Haven’t Been To, interactive per-
formance Mnemosyne, audiovisual work Click Click Sale, and several more pub-
licly performed musical pieces.
Music Program Notes. 16th Sound & Music Computing Conference
ISBN 978-84-09-11398-928
M2.2 Martyn Harry, James Dooley and Jamie Savan
Palimpsest
‘Palimpsest’was specially written for the Polyphonic Cornett project,
a project exploring the combination of live electronics and the
cornett, an early wind instrumnet. The work is an exploration of
bringing an old instrument into a contemporary context. Using
live electronics to sustain tones and echo transposed motifs, the
effect is one of a blurred musical image where melodic fragments
emerge and come into focus throughout the course of the perfor-
mance.
Duration: 7’ 00”
Year of Composition: 2018
Martyn Harry studied Composition with Alexander Goehr as part of his BA
at Cambridge University, and Music Theatre Composition with Mauricio Kagel
in Cologne on a DAAD scholarship. He has an Associate Diploma in Perfor-
mance and Communications Studies from the Guildhall School of Music, and a
PhD in Composition from City University where he studied with Simon Emmerson,
Michael Finnissy, Douglas Young and Robert Saxton.
From 2000 to 2003 Martyn was the Northern Arts Composer Fellow, based at the
University of Durham, in which capacity he produced numerous compositions for
the Northern region (covering Newcastle, County Durham, Cumbria, Northum-
berland, Teeside and the North Pennines), involving professional arts organisa-
tions, universities and members of the community. As part of his work he created
Durham’s innovative Opera and Music Theatre course, where Durham students
devised a new production every year for performance in primary and secondary
schools, in conjunction with CTC, now Theatre Hullabaloo.
Martyn became Head of Compositional Studies at the music department of Durham
University in the academic year 2003-2004, and had a significant role in the depart-
ment’s successful bid to become a Centre of Excellence for Teaching and Learning
in Music. Along with Agustin Fernandez, Martyn directed the I3 project in close
conjunction with Simon Clugston of Northern Sinfonia. He created a number
of innovative music theatre projects with the director Lore Lixenberg, including
productions of Berio’s A-Ronne, Wishart’s Anticredos and Kagel’s theatrical tour-
de-force Staatstheater, which won approbation from the composer. He will also be
remembered for his initiatives to change the learning environment for composers,
such as the new first-year Contemporary Music course, which combined close study
of avant-garde compositional techniques along with opportunities for composing
for film (e.g., the film scores created by postgraduate film composers for Buñuel’s
L’Age d’Or, Eisenstein’s Battleship Potemkin, Chaplin’s East Street and – jointly
with Mariam Rezaei and Richard Stopford – Dimitri Kirsanoff’s Ménilmontant).
In January 2009 Martyn Harry took up his present post as a university lecturer at
the Faculty of Music, specialising in Composition, with tutorial responsibility for
music at St Anne’s.
James Dooley. James’ work has a strong focus on the interaction between sound
and its environment. Often employing technology to create digital feedback loops,
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