COMPEL Omeka Dev

Browse Items (868 total)

  • This work uses Supercollider and a midi controller. The score does not have time indicated and can be performed at any length. There is also room for improvisation and expansion of sounds and ideas durning the performance using the midi controller.

  • This work is a collection of 12 movements that are comprised of all the zodiac symbols for any given month notated. The computer part is subtle and is used to alter the timbre of the instruments in real time to make a “hyper” instrument. The composition does not have to be played with all 12 movements. The ensemble can pick their birthday months or randomly choose.

  • There are six parts written in Max/MSP. No conductor is needed and the time is automatically set in the patches.

  • Dystopia is a work for laptop ensemble that uses Max/MSP. There are 5 parts and a score. The piece is performed with a conductor that cues different gestures the performers should do with the patches. While the composition follows a score, time is not indicated and the conductor can choose to extended sections when they choose.

  • EleKtrIoN I (music of diamond) is a composition based on the sonification, remix and artistic reinterpretation of diamond property data obtained by very sophisticated scientific computer simulations translated into music using a computer-aided data-driven composition environment developed by the composer in the materialssoundmusic project.

  • The structure of Ricercare is a reinterpretation of the original “ricercare” style of the late renaissance and early baroque period. Here the word “ricercare“ (Italian for “to research”) takes a double meaning: on one hand is the research the performer does to find the optimal connection between the flute and the sonification of the data stream in the basso continuo accompaniment; on the other, it refers to the scientific research work that has led to the data on which this composition is based. All the parts are directly based on the remix and sonification of the materials property data for Silicon, Germanium and Tin (Si1_ICSD_60389, Ge1_ICSD_181071 and Sn1_ICSD_53789 in AFLOWLIB.org), some of the group IVa elements of the periodic table. The flute part is built on the materials data mapped to pitch class sets (one of the output of the data manipulation algorithm). These pitch class sets are used in the original form found by the mapping procedure – no operation (translation, inversion or multiplication) is done on the sets. The rhythmic patterns oscillate between quasi-random sequences and continuous virtuosity runs as in a baroque solo section. The basso continuo is split in one harmonic and one percussive part. The harmonic part comes from the direct mapping of the materials data into MIDI note-on/note-off events streamed live through the DataPlayer app; the percussive section doubles the flute part in a rhythmic unison triggered by the flute through an audio-to-MIDI pitch recognition Max for Live patch.

  • In Contrappunto (the first of my Inventions for data stream) the data stream (from the AFLOWLIB.org entry for Silicon) is manipulated during the live performance creating a musical material that will be influenced by the performer in any instance of execution. This is where the CADDC environment is most versatile, allowing for a large degree of improvisation and for a broad palette of esthetic choices. The duration of the piece is open and the recording on SoundCloud is just an example of the infinite possibilities that this piece opens.

  • after Giacomo Leopardi

  • These five short pieces are inspired by poems by Eugenio Montale, italian Nobel laureate in 1975. In his work, starting from the first collection, Ossi di Seppia (1925), Montale focused on the dilemmas of modern history, philosophy, love, and human existence in poems that are characterized by the hermeticism of the message if not of the language, in a dramatic and psychological dynamism.
    In each of these compositions I explored the dilemma of the sound in a multiform collection of audio manipulations that create dynamical and evocative portraits of the poet’s words.

Output Formats

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If you see an error or would like to add content to COMPEL, please leave a comment or contact Hollis Wittman at hollisw@vt.edu.