Ein neuer Walk and Talk, im Juni initiiert von Shuoxin Tan, Mitglied des kollaborativen algorithmischen Netzwerk-Musik-Ensembles [ _ _ _ ]. Die Themen wurden wie üblich improvisiert, die drei Ensemblemitglieder hörten einander zu und nahmen es einfach über Jitsi auf. Jedoch konnten die aufgenommenen Klangereignisse nie von allen gleich gehört werden – wie können wir durch Artikulation im Netzwerk einen Ort definieren?

*Das Hören mit Kopfhörern wird empfohlen.

»Drei Platzhalter, die in einem Raum zwischen leeren Orten sitzen«. So beschreibt sich das Ensemble [ _ _ _ ] selbst. Es wurde 2020 von den Künstler*innen Shuoxin Tan, Li Song und Jia Liu gegründet, um Musik für das Netz zu komponieren. Shuoxin Tan wurde in Peking geboren und arbeitet als Komponistin und Klangkünstlerin in Köln. Sie forscht in den Bereichen algorithmische Akustik, Klangontologie und Lacansche Topologie. Li Song ist Musiker und Softwareentwickler und lebt in London. Er komponiert Musik für Computer und akustische Instrumente. Jia Liu ist Komponistin und Computermusik-Performerin. Sie lebt in Karlsruhe und arbeitet derzeit an algorithmischer Musik und Komposition für autonome Systeme.

Die drei Mitglieder teilen das gleiche Interesse an algorithmischer Akustik und Komposition, SuperCollider und Live Coding. Können Algorithmen kollaborativ sein? Was passiert, wenn der Borromäische Knoten auf Netzwerkstrukturen für kollaborative algorithmische Komposition angewendet wird? Der Mechanismus für die Datenkommunikation wurde während des Covid-Lockdowns im Jahr 2020 von Grund auf neu entwickelt, wobei die Programmiersprache SuperCollider zum Einsatz kam. Ihre Forschung und Praxis bewegt sich zwischen Komposition und Improvisation und verkörpert die neue Form der Computermusikperformance mit theoretischem Denken.

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Another walk and talk hosted by Shuoxin Tan, one of the members from collaborative algorithmic network-music ensemble [ _ _ _ ]. The topics were improvised as usual, and they listened to each other while recording it simply via Jitsi. Meanwhile, the recorded sound events could never be heard as the same by each individual – how could we define a place by articulation through networks?

*Listening with headphones is recommended.

»Three placeholders sitting in a room between empty spaces.« This is how the ensemble [ _ _ _ ] describes itself. It was founded in 2020 by the artists Shuoxin Tan, Li Song, and Jia Liu, to compose music for the network. Shuoxin Tan was born in Beijing and works as a composer and sound artist in Cologne. She researches algorithmic acoustics, sound ontology and Lacanian topology. Li Song is a musician and software developer based in London. He composes music for computers and acoustic instruments. Jia Liu is a composer and computer music performer. She lives in Karlsruhe and is currently working on algorithmic music and composition for autonomous systems. 

The three members share the same interest in algorithmic acoustics and composition, SuperCollider and live coding. Can algorithms be collaborative? What happens when the Borromean knot is applied to network structures for collaborative algorithmic composition? The data communication mechanism was developed from scratch during the Covid lockdown in 2020, adopting the programming language SuperCollider.

https://e---e.bandcamp.com/releases  

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Der ONpodcast bietet jeden Monat eine neue Perspektive aus der Freien Szene in Köln. Worum es geht und wer zu Wort kommt, liegt in den Händen der Moderatorin oder des Moderators: in zwei Folgen geben sie Einblicke in das Leben und Schaffen der experimentellen Musikszene und lassen mit Gesprächen, Geschichten oder Musik daran teilhaben.

Every month ONpodcast offers a new perspective into the independent scene of Cologne. What it is about and who it is with is entirely up to the host: in two episodes they give us insights into their life and work within the experimental music scene and share conversation, stories and music.

ONpodcast #71 Articulated Network mit Shuoxin Tan (und [ _ _ _ ])

This album is made by the producer JonaMari. Enjoy!

JonaMari - Inside Look

JonaMari - Joy

Composed as one the major pieces for my PhD portfolio in 2021,  Now for Orchestra is an autobiographical piece which explores intuitive vs formalist approaches to composition, including algorithmic and computer-assisted compositional techniques.

Now for Orchestra

expressive interaction sketch for orchestra  [excerpt]

A Clam Tolerated A Suffering Rodent.

Algorithmically generated graphic score piece for mixed improvising ensemble and tape. Written especially for Daylight Music 312 to celebrate the 50th anniversary of the Moon Landing.

Iris Garrelfs - vocals
Roger Redgate - violin & electronics
Adrian Montufar - flute
Michael Zbyszynski - saxophones
Shereen Mouratsing - electric guitar & pedals
Ashley Paul - tenor saxophone
Daniel Ross - piano & electronics

Giant Leap

terrible color ruined red in blue text turquoise colorthere

This piece explores the modes Lydian, Ionian, Mixolydian and Dorian by using probability and Markov chains to determine the chord progression, the melody and its rhythm.

Mark Of Markov

CHIASMA is a prototype, representing the initial results of my project on composing with genetic algorithms and evolutionary computation. 
Genetic algorithms provide means of numerical and combinatorial optimization by generating more promising ideas from a specifiable set of components and processes. Individuals of an initial population with a random set of genes “mate”, and produce “offspring”, which would evolve under the process of natural selection over the course of generations.
CHIASMA uses an intelligent machine listening system to evaluate fitness values of generated individuals, by using fast Fourier transform as its translation method. The initial population is created from two random arrays, representing their random genomes. They mate to create offspring with the successful traits highlighted. Each chromosome array is compared to the target one through a simple linear distance function. individuals would then have an importance weight factor, used as a multiplication value when added to the mating pool, to assure that more desirable genes are passed on to the next generation. A mutation rate of one percent is considered to increase the chance of fit individuals being generated.
The research project focuses on employing the process of genetic evolution as the composition structure, as changes in parameters of the algorithm such as allowed population per generation, mutation rate, search environment, lifespan, etc. influence the events and speed of the system reaching its target. 

The algorithm is written in Supercollider.

Artwork by Arash Akbari
Mix/Master by Remmy for Duality Sound Lab

CHIASMA

musical experience of the experimentalist

Daniel James Ross is a composer. He likes electronics and instruments put together with algorithms.
One quarter of Mega Trio, one half of Roddart. Maker of Beethoven Was Wrong radio show on Resonance FM.

https://www.goodreads.com/user/show/54730678 https://boxd.it/7968R
Chess: chessaccounthowdy
Notebook

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tabbte

PhD Researcher in AI & Music @ QMUL | Generative music for film and games using Deep Learning| Film & Game music composer | Italian in London

info@saracardinalemusic.com

Composer based in Edinburgh, Scotland.

Originally a rock band drummer, Brian decided to put away the sticks for a while to pursue a music degree with the ultimate aim of composing music for film. He graduated with a Bachelor of Music Honours Degree (1999) and PhD in Musical Composition (2022) from the University of Edinburgh and for the past 26 years has been working as a composer, music educator and consultant.

His composition work spans a wide range of activities including composing for concert hall,  film, multi-media installation and theatre.

His credits include scoring music for a variety of film projects including the award winning animation Nocturne in Sea Shark, Beginning Ending, Ten Dead Men, Conversations with Dead Men, Salt of the Earth, A Stately Suicide and Christmas Hear Kids.

Der ON Podcast bietet jeden Monat eine neue Perspektive aus der Freien Szene in Köln. Worum es geht und wer zu Wort kommt, liegt in den Händen der Moderatorin oder des Moderators: in zwei Folgen geben sie Einblicke in das Leben und Schaffen der experimentellen Musikszene und lassen mit Gesprächen, Geschichten oder Musik daran teilhaben.

ON Cologne ist eine gemeinnützige Kultureinrichtung und ein aktives Netzwerk im Bereich der neuen und experimentellen Musik mit Sitz in Köln. ON arbeiten mit der Freien Szene für ein aktives Kulturleben inner­halb der Stadtgesellschaft hin zu einer offenen, dynamischen und nachhal­tigen Kulturlandschaft der Zukunft. Dabei verstehen wir uns als ein gleich­wertiger Teil der Vielzahl kultureller Ausdrucksformen.

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Every month the ON Podcast offers a new perspective into the independent scene of Cologne. What it is about and who it is with is entirely up to the host: in two episodes they give us insights into their life and work within the experimental music scene and share conversation, stories and music.

ON Cologne is a non-profit cultural institution and an active network in the field of new and experimental music based in Cologne. ON works with the independent scene for an active cultural life within the urban society towards an open, dynamic and sustainable cultural landscape of the future. In doing so, we see ourselves as an equal part among the multitude of cultural forms of expression.

Popular tracks tagged #algorithmiccomposition