Star Cluster (2018) is a work written for piano, cello, and a vocal trio as my final composition in my composition class. While the piece originally began as a solo piano piece with various cluster chords, I found myself thinking more and more about the idea of a “star cluster” — stars that are gravitationally bound together. From deeping further into this concept, I decided to add a trio of voices to represent a cluster of stars: no matter how far they may drift from one another, they will always be bound together as a cluster. Along with the text, I aimed to illustrate this idea by often having each of the voices start on the same note at the beginning of a phrase, veer off in their own directions for a while, and then come back together at the end of the phrase. In this way, the three vocalists each have their own individuality, but are still unified. I hope you enjoy!

Text: "An Unbreakable Bond" by Michael P. McParland
Performers: myself (piano), Julia Weldon (cello), Helen He (soprano voice), Piper Hill (alto voice), and Philip Swigon (baritone voice)

Star Cluster

Synapse was created using ChucK, an audio and music programming language for real-time composition and performance. Given my background in computer programming, ChucK strikes me as the the perfect tool for composing as its syntax is very similar to traditional coding languages such as Python and Java. My main goal in the piece — and the reason behind the title — is to simulate how I envision brain synapses to sound in action; specifically, the code holds a table of MIDI values corresponding to notes within a scale/mode (that I change over time), and it regularly chooses a random note within the list to represent the “impulse”. With each impulse, I then use three delay lines to represent the passing of the impulses within the brain, creating a compelling polyrhythmic texture; in addition, I also use live improvisatory coding to supplement the underlying harmonies I hear within the “randomized” melodic line, giving the piece an element of improvisation and artistic fluidity. As the piece transitions into different modes and decomposes in texture, the brain begins to “tire out”, ultimately leading to the “nap time” section with a warmer timbre to close out the piece. The piece was primarily composed for a stereo setup, but it can easily be adapted to fit a multichannel environment, as well!

Synapse

Markov Music (2018): For my final TECH 202 project, I created an interactive interface in Max to combine aspects of live input processing with algorithmic composition using Markov chaining, a stochastic algorithm relevant to machine learning techniques. The performer starts by feeding in some series of pitches (either via live input, MIDI Text, or a MIDI Keyboard/Controller), and each pitch is stored in the table along with the note(s) immediately following it. In this way, a transition table is constructed with all the tracked pitch values, along with all the notes that follow it in the same row. Then, the patch randomly selects a starting note and chooses a random pitch in its corresponding row, with a higher probability of choosing the pitches that most commonly follow it. The pitches can then be outputted back either as MIDI notes or frequencies; to create a more unique sonic environment, I also added polyphony in both modes (with MIDI, you can route specific ranges of MIDI notes to different MIDI channels in the DAW.). 

The performer would then continue to input melodies (or sustained notes) in response to the generated algorithmic composition(s), and the piece would continue to develop further as the performer and computer feed off of one another (essentially creating a ‘duet’ between the computer and performer.) Throughout the duet, the performer would also be able to change the quality and timbre of their instrument through manually controlling parameters dealing with reverb, delay, and distortion. This collaboration between the computer and performer would create a unique, adaptable, and constantly morphing sonic atmosphere, making it possible to use in a variety of settings. 

Included is a live performance recording with me playing the piano and responding in real-time to the computer’s musical output, with MIDI output mapped to MIDI instruments in Logic Pro. (sorry for all the annoying chair creaks)

MarkovMusic

stereo mix of an 8-channel composition based around the text of a poem called “A Fleeting Image” by Avi Fleischer. The work (and poem) explores the fleeting and uncertain nature of life using a simple spatialization granular synthesis Max patch I created. The patch takes an audio recording of me reciting the poem’s first line, cuts up the audio into smaller chunks (or ‘grains’), and outputs them to a randomly selected speaker; in this way, the piece’s short lasting gestures are analogous to the short lasting nature of life, and the randomness of sound output represents life’s unpredictability. Over time, aspects of the synthesis process — playback speed/pitch, amplitude, grain length — change over time, aiming to create unique textures to correspond to specific parts of the poem. Each of the eight outputs were then imported into Logic where I added some MIDI background sounds and spatialized a vocal melody and other recorded sounds across the eight channels using SpatGris.

Short Lived

Sometimes (2019) is a piece for vocal ensemble and live electronics inspired by (and in tribute to) Olly Wilson’s Sometimes (1976) for tenor and tape. Olly Wilson was one of the founding members of Oberlin’s TIMARA department, and with his passing in March 2018, I wanted to ensure his compositional and educational legacy was honored at TIMARA's 50th Anniversary Kaleidosonic Music Festival. The piece incorporates bits and pieces of the original melody, accompanied by varying vocal textures, including direct harmonization, hissing/whispering, and other extended vocal techniques.  Given the original is also based on the Negro spiritual, Sometimes I Feel Like a Motherless Child, the piece also incorporates elements of call-and-response and improvisation traditional to the Africana aesthetic. To further develop the immersive sonic world, the vocal parts are then spatialized throughout a speaker array using the spat5 Max external, to further play with the distinction between its “traditionally choral” elements and the extended techniques. 

	Attached is a recording of its premiere at the Kaleidosonic Music Festival in November 2019, performed by the Oberlin College Black Musicians’ Guild.  The 16-channel diffused file was encoded with Ambisonic UHJ formatting in order to simulate the spatialization in stereo.

Sopranos: Helena Colindres, Amber Rogers
Altos: Georgia Heers, Nicole Odreman, Adriana Vergara
Tenors: DaQuan Williams, Seyquan Mack
Bass-Baritones: Max Addae, Anthony Anderson

"Sometimes" for vocal ensemble & live electronics

Spectre (2020) is a live recorded composition using a software system I designed called Vocal PerFormants (VPF), which uses vocal feature extraction and vowel detection for intelligent, voice-controlled electronics. In a series of improvisatory sessions, I identified a set of textures (or “scenes”) I enjoyed, and designed a rough score, presets, and a TouchOSC interface to give myself precise control over the harmonization volumes, delay feedbacks, and the toggling on/off of each functionality. The piece begins with breathy, unpitched sounds to introduce the vowels, and gradually walks the listener through the system’s responses to live vocal input in relation to harmonization, stereo spread, and delay.

"Spectre" (2020) for processed solo voice

an audio sample of my final project for CCRMA's SuperCollider Summer 2020 Workshop, taught by Bruno Ruviaro. Using Ndefs, Pbindefs, and SynthDefs, I was able to record live samples of my voice making different sounds and then manipulated those samples into custom patterns/textures. After doing a 10 minute live coding improv session, I spliced up some of my favorite moments and compiled them together to showcase in the final presentation - very much a work in progress! Enjoy!

Code can be found at: https://sccode.org/1-5dT-dId6Rdkl1C

CCRMA SuperCollider Workshop 2020 -- Final Project (for voice and live coding)

Oberlin College & Conservatory '21
Computer Science & Technology in Music and Related Arts (TIMARA) 

Programmer | Vocal Arranger | Composer

Max Addae

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