Piano composition and performance by Victor Sobolenko (18.05.15)
Photo: Larissa Sobolenko

Metamorphosis Memory - Метаморфозы памяти

Music composition and performance by Victor Sobolenko (pardessus de viole) 03.03.2018
Джованни Пала (итальянский компьютерщик и музыкант) пришел к выводу, что хлеба, руки Иисуса и апостолов в полотне Леонардо да Винчи “Тайная Вечеря” по расположению представляют собой ноты.
Он считает, что это полностью соотносится с христианской символикой, согласно которой хлеб ассоциируется с телом Христа, а руки необходимы для того, чтобы благословлять пищу.
По словам исследователя, сначала ему трудно было найти связь между своеобразными нотами. Однако, когда Джованни Пала решил прочитать их наоборот справа налево, они приобрели музыкальный смысл.
В выпущенной книге “Скрытая музыка” Джованни Пала подробно описывает все подсказки, которые позволили ему определить продолжительность и музыкальный ритм зашифрованной мелодии.

Ваш покорный слуга взял нотный ряд, расшифрованный Дж. Пала, и использовал свои нотные ряды, которые получились при наложении на картину лютневой табулатуры и символического грифа виолы пардессю, и зашифровал всё это в своей музыкальной композиции.

The Musical Code for Leonardo

Vlady Bistrov - clarinet, saxophone, volca sample, volca keys, volca fm
Victor Sobolenko - pardessus de viole, cello, voice, piano, toys, samples
Sound - Andrew Dokin. Mastering - Victor Sobolenko
Live at Sound Musium, Saint-Petersburg, Russia
11.04.2019
https://yadi.sk/i/09DGq1SV8YbX0A

Music Parallel Spaces

Open World is the 12th track from NetWorks 6: Music From a Farther Room. The entire album can be heard on Spotify, iTunes, Youtube, Deezer, etc., or purchased on Bandcamp: shawnbell.bandcamp.com/album/network…-farther-room

NetWorks is a music-generating system, and a body of work, based on artificial-life, complex systems research and the Honing Theory of creativity (Gabora 2010). NetWorks uses a hierarchical, scale-free network to generate music that can range from orderly to chaotic. At the ‘edge of chaos’ it generates patterns that exhibit emergent complexity through coherent musical development at low, mid and high levels of musical organization, and often suggests a sense of direction through goal seeking behaviours.

Emergence, in the NetWorks program, is achieved, not through Darwinian evolutionary processes, but through a far older form of evolution called communal exchange. “There is extensive evidence that for the first several million years of its existence life on earth evolved through communal exchange of components amongst self-organizing autocatalytic protocells, prior to establishment of a genetic code, and only once a RNA-based self-assembly code was in place did life evolve through natural selection. … the last century’s emphasis on natural selection in evolutionary theory is not warranted by current research; even today, variation-selection is, quantitatively at least, not the dominant evolutionary process.” (Gabora 2006).

There are no selective processes (fitness functions) within NetWorks, so if an output stream is perceived to “evolve” it can then be said to originate solely through communal exchange. Selective processes occur only between the interaction of the musician-programmer and the NetWorks program, when the musician-programmer (1) generates and evaluates network architectures, rule-sets and mappings, (2) orchestrates, mixes, and masters the most aesthetically pleasing instances of these outputs and (3) tweaks and expands the program itself.

In general, the sounds chosen to manifest the musical patterns discovered by a network attempt to reflect the mystery and wonder that virtually unlimited diversity can come from such simple models of complexity. When mapping patterns to sound, an effort is made to preserve the integrity of the patterns rather than obfuscate them with complex synthetic textures or other effects that are readily available during mixing.

Since the MIDI data of NetWorks is computer-generated, sampled acoustic instruments are often used to give the music a “human feel”, and to allow the listener to relate and compare the self-organizing patterns to known genres.

Headphone listening is recommended.

NetWorks 6: Music from a Farther Room

Open World

Greetings From The Kingdom

Placeholder title.
1920's free atonality applied to progressive "Jazz"? "Rock"? esthetic.

Form:
AA transition BB: free composition: Solos : AA Transition: Coda

1:07 - 1:48 is a run through of intended progressions for solo's 
4 cycles plus transitional progression (played once)

13 8 ToRecord

Improvisations

Episode 00001

Composer, Сellist, Pianist, Gambist, Musicologist.

The Musical Code for Leonardo

VictorSobolenko 3