Just got more interesting again. I like the off-center rhythms in this section quite a lot.

Great dissonant rumblings lead into a passage taht recalls Cecil T at his most lyrical.  This is very fine, Scott.

It's nice how as it gets dense, it stays rhythmically and harmonically integrated

This is where the computer starts reacting to the keys that are played

At this point the max patch starts watching the keys being played and responding

The pentatonic scales from Slonimsky's Thesaurus of Scales and Melodic Patterns

The chord progression from "Time Remembered" by Bill Evans

Networked soundscape, interactive electroacoustic sound installation
(4-channel audio) by SoniLab
for the exhibition
“I AM NOT A ROBOT” – ON THE BORDERS OF THE SINGULARITY”
Ludwig Museum, Budapest, Hungary
September 16 - November 27, 2022

SoniLab is the University of North Texas College of Music data sonification laboratory led by Marco Buongiorno Nardelli (creative director and composer),
with Garrison Gerard, Chris Poovey, Patrick Reed, Benjamin Shirey and Okan Yaşarlar (composers and sound designers).

for the installation
Fake News Apostles by BarábasiLab
Gabor Klitzinger (video art)  
A.-Laszlo Barabasi (artistic and scientific director)

I am not a robot, am I? - Binaural ReMix

from a live performance of a piece by Scot Gresham-Lancaster based on his text piece "The Strange New Life of the Dark Dark Meat". This performance was at Cuba Kultur in Münster, DE with Mark Paaping, Sam Ashley and the voice of Alex Bendahan who also helped correct errors in the primitive translation by a early version of Google translate

Das Merkwürdige Neue Leben Des Dunklendunkle Fleisches

Live at Lux

Live At Lux Willow Tree 12

Sweetgum Symphony 1 LIVE Concert in Marmaris Turkeye

Sweetgum Symphony 2  LIVE Concert in Marmaris Turkeye

John Cage Laughing

Teaser track for large-scale composition, Virtutes Occultae. 

https://taylorbrook.bandcamp.com/releases

Virtutues Occultae is an album in eighteen sections for six physically modeled virtual pianos, each with a unique tuning in an extended 11-limit just intonation.

In writing this music I used a mixture of traditional composition methods of structuring the music with various harmonies and progressions along with more free writing, collage techniques, and algorithmic composition.

The tuning of the virtual pianos extends Harry Partch’s conception of the over-tonality.

www.taylorbrookmusic.com

Virtutes Occultae

Virtutes Occultae - 1) Prelude

using Yamaha Disclavier, Mac powerbook running max, the
software interacted with the players keyboard gestures to augment the
playing. From a live recording on KPFA Carl Stone's "Ear's Wide Open" in 1998.

5tonesForSlonimsky

Play of Light - Richard Nelson
Performance by the Duo "2" - Peter H. Bloom, multiple flutes; Mary Jane Rupert, harp

Flutist Peter Bloom and I have been friends and musical colleagues for many years, particularly through our shared long-term membership in the Aardvark Jazz Orchestra. So, I was delighted when Peter asked me to write a piece for him and harpist Mary Jane Rupert, providing an opportunity for us to have an artistic collaboration in the concert music realm as well.
The resulting "Play of Light" is built around spaciousness, transparency, multi-hued shadings and playful chases. The use of bass flute and piccolo adds to the inherently rich color possibilities of the flute/harp combination--the three flute instruments in succession form a sort of "super-flute" in the work's final section
Drawing on Peter and Mary Jane's creative expertise and my own jazz and improvisation background, the composition leads the players into a substantial section that they complete through improvisation.  While they follow signposts on intensity, energy and pitch content that I provide, this approach nonetheless creates a playful element of intrigue and spontaneity, and assures that each performance of the piece has a strongly individual profile.
--RN

-------------------------------

Bloom and Rupert have given numerous performances of “Play of Light” in venues across the United States.  “Play of Light” is published by Noteworthy Sheet Music, available here:
https://www.noteworthysheetmusic.com/sheet-music/ensemble-tags/flute-wmixed-ensembles/106-nelson-play-of-light-flute-a-harp

In a collaboration spanning 25 years, flutist Peter H. Bloom and harpist/pianist Mary Jane Rupert (the Duo “2”) have concertized in the United States, Thailand, New Zealand and Australia.   Cinemusical called their playing “stunningly beautiful,” while St. Andrews Performing Arts praised their “beautiful phrasing, consummate duet passages, superb technical facility."   Compositions written for “2” include works by Richard Nelson, Elizabeth Vercoe, Narong Prangcharoen, Karl Henning, Pamela Marshall, and others.  The Duo “2” can be heard on Navona, Ravello, and North Star Records, and is managed by Americas Musicworks www.americasmusicworks.com

Recorded by Noah Cole

Play of Light - The Duo "2" (Peter H. Bloom, multiple flutes; Mary Jane Rupert, harp)

Electric guitar and algorithmically assisted drums and synths recorded live by therefore. Additional live cymbals by Eric Farrar and whistling from another dimension by Rat Rios. First of a new collection for Spotify. Art by John Pomara.

Under React (Live)

Composer- Performer- Research Scientist 
Visiting Researcher CNMAT UC Berkeley
1st Frank & Marjorie Malina Art/Science Research Fellow
The HUB - 2018 Winner of the ZKM GigaHertz Lifetime Achievement Award
Sound Designer/Composer deadwhitezombies.com - Dallas Observer, Best Theatre Company 2017
Performer/Composer/Designer Talking Trees

5tonesForSlonimsky

Scot Gresham-Lancaster

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