composing with process: perspectives on generative and systems ...

Research > COMPOSING WITH PROCESS: PERSPECTIVES ON GENERATIVE AND SYSTEMS MUSIC Generative music is a term used to describe music which has been composed using a set of rules or system. This series of six episodes explores generative approaches (including algorithmic, systems-based, formalised and procedural) to composition and performance primarily in the context of experimental technologies and music practices of the latter part of the twentieth century and examines the use of determinacy and indeterminacy in music and how these relate to issues around control, automation and artistic intention. Each episode in the series is accompanied by an additional programme featuring exclusive or unpublished sound pieces by leading sound artists and composers working in the field.

PDF Contents: 01. Summary 02. Playlist Part I 03. Bibliography 04. Related links 05. Acknowledgments 06. Copyright note

Written and edited by Mark Fell and Joe Gilmore. Narrated by Connie Treanor. Mark Fell is a Sheffield (UK) based artist and musician. He has performed and exhibited extensively at major international festivals and institutions. In 2000 he was awarded an honorary mention at the prestigious ARS Electronica, and in 2004 was nominated for the Quartz award for research in digital music. He recently completed a major new commission for Thyssen-Bornemisza Art Contemporary, Vienna which premiered at Youniverse, International Biennal of Contemporary Arts, Sevilla. www.markfell.com Joe Gilmore is an artist and graphic designer based in Leeds (UK). His work has been exhibited at various digital art festivals and galleries. His recorded works have been published internationally on several record labels including: 12k/Line (New York), Entr'acte (London), Cut (Zürich), Fällt (Belfast) and Leonardo Music Journal (San Francisco). Joe is currently a part-time lecturer in the department of Graphic Design at Leeds College of Art & Design. He is also a founder of rand()%, an Internet radio station which streamed generative music. joe.qubik.com

COMPOSING WITH PROCESS: PERSPECTIVES ON GENERATIVE AND SYSTEMS MUSIC #6.1 Space

This episode explores sound in relation to space. It considers various ways in which composers have utilised acoustic space as an active element in the process of music composition.

01. Summary The sixth episode in the series considers the relationship between process-based music and space. It explores how musicians and composers have used acoustic space as an active element in music composition. Some historical precedents, such as Tibetan and medieval chanting, are included; acoustic space has not only been explored externally, but also internally, as physiological space. We look at several examples of music which explore these principles, including: Austrian composer Peter Ablinger's exploration of acoustic space using silence and noise; and Italian composer Agostino di Scipio's 'Audible Eco-Systems' which explore the real-time interaction between digital signal processing (DSP) and the space in which it is located. The show closes with two performative works which differ in their approach: '495,63' by Yasunao Tone and Carl Michael von Hausswolff's freq_out project.

02. Playlist Part I Monks of Tashicho Dzong, Thimphu; Nuns of Punakha Dzong 'Dung Chen Nyithu Panglep Two Notes Prolonged to Medium Length' (Tibetan Buddhist Rites from Monasteries of Bhutan: Vol. 1-Rituals of the Drukpa Order, Lyrichord, 1971) Oleg Kuular, Leonid Oorzhakand Mergen Mongush 'Sygyt, Khoomei, Kargyraa' (excerpt) (Shu-De, Voices from the Distant Steppe, Real World, 1994) Johann Sebastian Bach 'Contrapunctus' (The Art of the Fugue, Sony Classical, 2002) Julia Hayward 'Mongolian Face Slap Big Coup (Part One)' (Airwaves, One Ten Records, 1977) Julia Hayward 'Nose Flute, Big Coup (Part Two)' (Airwaves, One Ten Records, 1977) Donald Duck 'Old MacDonald Had a Farm' (Old MacDonald Duck, Walt Disney Productions, 1941) Peter Ablinger 'Weiss / Weisslich 24.1, Kirchen von St. Lambrecht 1–6 Version 1' (I.E.A.O.V., Durian Records, 2004) Peter Ablinger 'Weiss / Weisslich 24.2, Kirchen von St. Lambrecht 7–12 Version 1' (I.E.A.O.V., Durian Records, 2004) Peter Ablinger 'Weiss / Weisslich 24.3, Kirchen von St. Lambrecht 1–6 Version 2' (I.E.A.O.V., Durian Records, 2004) Peter Ablinger 'Weiss / Weisslich 24.4, Kirchen von St. Lambrecht 7–12 Version 2' (I.E.A.O.V., Durian Records, 2004) Agostino di Scipio 'Hörbare Ökosysteme N.2a Studie Über Rückkopplungen' (Hörbare Ökosysteme: Live Elektronische Kompositionen 1993-2005, Edition RZ, 2007) Agostino di Scipio 'Hörbare Ökosysteme N.1 Studie Über Impulsantworten' (Hörbare Ökosysteme: Live Elektronische Kompositionen 1993-2005, Edition RZ, 2007) Agostino di Scipio 'Hörbare Ökosysteme N.3b Studie Über Hintergrundgeraüsche Im Vokaltrakt' (Hörbare Ökosysteme: Live Elektronische Kompositionen 19932005, Edition RZ, 2007) Yasunao Tone '495,63' (unreleased, 2007) freq_out Orchestra '1.10.08' (excerpt) (Touch Radio 35, Touch, 2010)

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03. Bibliography Christine Anderson, 'Dynamic Networks of Sonic Interactions: An Interview with Agostino di Scipio'. Computer Music Journal, vol. 29, no. 3. Cambridge, Mass.: MIT Press, 2005. Agostino di Scipio, 'Sound Is the Interface: From Interactive to Ecosystemic Signal Processing', Organised Sound 8/3, 2003. Cambridge: Cambridge University Press, pp. 269–277. Agostino di Scipio, Hörbare Ökosysteme: Live Elektronische Kompositionen19932005. CD liner notes, Edition RZ, 2007.

[Carl Michael von Hausswolff, 2011]

Perry R. Cook, Music, Cognition, and Computerized Sound: An Introduction to Psychoacoustics. Cambridge, Mass.: MIT Press, 1999.

04. Related links Carl Michael von Hausswolff cmvonhausswolff.net Agostino di Scipio xoomer.virgilio.it/adiscipi/ Peter Ablinger ablinger.mur.at Yasunao Tone at Lovebytes festival2007.lovebytes.org.uk/event.php?ref=18210001-49563 freq_out www.freq-out.org

05. Acknowledgements Recorded at The Music Research Centre, University of York, UK.

06. Copyright note 2012. All rights reserved. © by the respective authors and publishers. Every effort has been made to trace copyright holders; any errors or omissions will be corrected whenever it's possible upon notification in writing to the publisher.

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