Browsing by Subject "Improvisation"

Now showing 1 - 3 of 3
  • Thumbnail Image
    Item
    Gestural composition with arbitrary musical objects and dynamic transformation networks
    (2014-06) Thalmann, Florian
    This thesis proposes a theoretical framework and a working implementation of a music composition software that overcomes many aspects of the distance commonly perceived by composers when using software products dealing with abstract representations of music. It is based on elaborate musical spaces and complex algorithmic procedures (constructs from contemporary mathematical music theory), which it makes more accessible using an intuitive gestural interface. More specifically, the software applies the principles of transformational theory and gesture theory to composition rather than analysis, poiesis rather than esthesis. The overall design of the software is based on the three levels of the ontological dimension of embodiment: the levels of facts, processes, and gestures. Users can interact with any of these levels via the software's graphical user interface. They can define and manipulate arbitrary musical objects in a gestural way and their compositional process is recorded in a transformation graph. This graph, in turn can be modified in a gestural way and finally translated back into standardized gestures that represent the evolution of the musical work.
  • Thumbnail Image
    Item
    Ritual #1: a case study in collaborative process.
    (2012-02) Crockett, Zachary
    After introducing historical models of interdisciplinary collaboration, I describe my process, laying out an example for future creators of collaborative arts performances. When I began this project, I felt like there was no precedent that gave a clear path for how to work. Even after consulting with various mentors, I was only made aware of one artist I could contact who had done something similar. I attempted to follow his model but knew from the beginning that I was working with a significantly more limited budget and different goals. With some experience I gave up on the initial idea and switched to a project that felt more conventional and pragmatic. Interesting elements of this new direction gradually took shape, and a graphically distributed identity of collaborators generated not only aesthetic content but also logistic solutions. The process of creating VOCA::Omni (Ritual #1) facilitated deep artistic exploration and growth for me and all the collaborators.
  • Thumbnail Image
    Item
    The Wunderkammer Interface
    (2017-05) Klein, Benjamin
    The Wunderkammer Interface is a nonhierarchical composition that invites an improvising musician to interact with twenty-five modules of composed digital audio processing. The musician who is engaging with the interface has the option to activate these modules independently, as a progression, or as overlapping processing schemes. The Wunderkammer Interface was designed in the SuperCollider audio processing environment. The interactive structure of The Wunderkammer Interface is based on the fluidity between the roles of creator, participant, and listener possible through this work. The performances described in this paper demonstrate unique realizations of The Wunderkammer Interface through different interactions with the interface.