. Love the dissonance ad changing moods. Very inspiring ...

An excerpt from <i>Transfigurations</i> for Orchestra and Live Computer Processing
(Full Orchestra and Chamber Orchestra versions available.)

Performed by the Temple Composers Orchestra (Chamber version)
Adam Vidiksis conducting

For ages, the orchestra served as the most advanced tone generator available to the musical art. The history of the orchestra has been one of continual development toward a diversity of timbre, loudness, and register. The computer is the only musical instrument capable of making all sounds discernible by the human ear; it is logical then to bring the computer into the orchestral tradition. Transfigurations combines the vast musical forces provided by these two mediums. All the sounds one hears originate in the orchestra itself live during the performance, except for the last sound. The computer processes these sounds in real time – manipulating, augmenting, and reinventing the performance. As with human musicians, no two iterations of the computer realization are exactly alike. 

The piece comprises five sections. The first is a fast-paced interplay between the orchestra and the computer, filled with counterpoint and rising to a dark and threatening culmination. In the second part, the flute, clarinet, and computer intermingle and untangle again with interjections from the rest of the full ensemble. The third portion of the work is a hopeful adagio, expanded in color by the computer, which ends in a triumphant outburst. The fourth section is dominated by solo violin and percussion. Both are manipulated to create an dense, metallic texture with threatening interjections from the rest of the ensemble. In the final section, the orchestra takes off at brisk pace, as if trying to outpace the ever-increasing effect of the digital manipulation. It is finally overtaken in a moment of music controlled by the computer and completely transformed from the live performance. As this music fades away, the only sounds not manipulated directly from the orchestra are heard. These chime-like tones are determined stochastically by the computer from the notes of the opening chordal motive. As these play softly fading into the distance, the orchestra enters once again for a final weary statement.

Transfigurations

Humanism EP 
PREORDER / BUY HERE - https://exitco.uk/095bandcamp
STREAM / PRESAVE HERE - https://exitco.uk/095stream

Tracklist

Currency Audio - Glass [Exit]
Kian & Ludvig - Sensual Waves [Noisy Meditation]
88Katanas - Real Thugs Recycle [Smith]
Sci-Clone - Everywhere I Go (2018 Remix) [Metalheadz]
Cujo - The Light [Shadow]
Dr. Jay & DJ Rush Puppy - Respect [Firm Handed]
4Hero - Star Chasers (Photek Remix) [Talkin Loud]
Maddela - Kinda Slick [Noisy Meditation]
Joe Seven - Juiced [Exit]
Jazz Cartel - Contact [Nu Perspective]
Danny Breaks - Easy [Droppin' Science]
dBridge - Too Late (Stray Remix) [Exit]
Seiji - Buggin Out [Reinforced]
Voyager - Voyager [Lucky Spin]
Mark System - The Voices [Exit]
INVT - POP, MOTION [Self]
Tayla - Dimensions [Nexus]
Heartdrive - Format Affection [Exit]
Arovane - aussen vor amx [DIN]

BROADCAST009: Currency Audio

Commission from Pemex (Petróleos Mexicanos)for Chamber Orchestra, a work  predicated on 'Compositional Bounding Theory',  a theory about the locality of movement. The main principle of Bounding Theory is the Subjacency condition, which forbids movement across more than one bounding node (i.e. tablature).

for Chamber Orchestra; Coloratura Soprano (Obstruent Phonology); Soubrette (Siblancy: Fricative speech sounds with high frequency);  Spinto Soprano (Strict Cyclicity); IGT Wild Cherry Spinning Wheel Slot; IGT 2x3x4x5x Red Hot 7s™ Spinning Reel Slot; IGT Hot Roll® Ca$h Ca$h Ca$h™ Video Slots; IGT Megabucks® Crystal Sevens® Slot; WMS Dashing Dolphins Slot; Wicks Century 5 Pipe Organ; Paiste 24' Venus Gong; Waldorf Blofeld Synthesizer; Hellfire Modulator, an analog, tube-based distortion rack-module; Formanta Polivoks Synthesizer; ESP jeune fille X Gips -Cross Ray- Moi dix Mois MANA Signature Model Electric Guitar.

"The Bare Lathes Intertwined with Creeper and Wire-Moss" Bil Smith Composer

Serendipitous II is the second in a series of works that focuses on randomness, predictability, and feedback. While the double bassist is performing, the electronics are recording small sections of audio that are then granularly reordered and played back at different speeds and directions, all of which are randomly chosen at time of playback. The result is then an environment where the bassist can improvise against a version of their past self, pushing the work forward in new directions with each performance.

Serendipitous II - Double Bass, Live Electronics

A sample of Vientophone, a wind-powered musical instrument designed for the Oberlin Conservatory of Music.

Vientophone

Spinning Tales (Original Soundtrack)

7/14/17

Foundling

New track in "archi" by 氷結幻想(Davidsan)
released in C94

Waltz No.1 In A Minor

Simple summer beat using drum sounds I made with Ableton's Operator synth

Movin' On

For percussion and electronics
Performed by Ryan Packard
(Note: this is an earlier recording than the one included on the Tzadik release.)

The electronics for Solis-EA are organized around a physical model of an 8 stringed instrument capable of producing a huge amount of distortion and internal feedback. This instrument responds to the material played by the percussionist, attempting to track the pitch of these sometimes “unpitched” instruments as best it can. 

The piece is loosely inspired by the novel Stillaset Brandt, by the Norwegian author Pedr Solis. Having created several other pieces that are tightly connected with the principle (unnamed) character in the novel, Solis-EA is more concerned with the author himself, his unusual and dichotomous life, and his mysterious disappearance (or tragic end, depending on which biographer you read).  

This piece is dedicated to Ryan Packard


Solis-EA

Episode 117 of ADJ•ective New Music's podcast, Lexical Tones. Robert McClure interviews composer and sound designer Caroline Louise Miller. http://www.carolinelouisemiller.com/

Visit www.adjectivenewmusic.com for more information about ADJ•ective New Music, the ADJ•ective Composers' Collective, and Lexical Tones.

117 - Caroline Louise Miller

Composer, conductor, percussionist, improviser, and technologist. I love sound, science, and the intersection of humankind with the machines we build. Come listen at www.vidiksis.com.

Transfigurations

vidiksis

Recent comments

Hide and Tweak

Hot Block Commander

David Frye

Rune Martinsen

Related tracks