Sound spatialization in live electronic music
(last edited: 2023)
author(s): Ji Youn Kang
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
This research, ‘Sound spatialization in live electronic music’, focuses on sound spatialization methodologies in live electronic music where challenges are posed in creating spatial gestures during live performance. The aim is to investigate those challenges by looking into my previous experiences with various multichannel systems, and to develop and experiment with software and hardware tools. The result of this research will be newly composed pieces with two different multichannel systems that contain a creative suggestion for dealing with sound spatialization.
Source Signals 2 - Lecture Registration
(last edited: 2023)
author(s): Kees Tazelaar
This exposition is in progress and its share status is: visible to all.
This is a video registration of a lecture on the composition of the work "Source Signals 2" at Willem Twee, Den Bosch.
After the LP Source Signals was released, I had been playing guitar at home almost on a daily basis, initially without a concrete plan. Gradually, however, an idea developed to compose an acousmatic multichannel work in which guitar playing would be the only source. I deliberately say ‘guitar playing’ and not just ‘guitar sounds’, because I’m interested in guitar sounds produced with musical intentions, expressed through playing skills that are developed through practice. Nevertheless, these ‘played’ sounds still had to function in a larger, abstract musical construction. So, the question was: where lies the threshold between listening to recorded guitar playing and the perception of a higher-level musical construction consisting of played guitar sounds?
Sound object and space: developing concepts by making software
(last edited: 2021)
author(s): Julius Raskevicius
connected to: KC Research Portal
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Concepts of sound object as a mental and programmed representation of sound are explored in the thesis through compositions and software. Terms "instance" and "class", as seen in object-oriented programming, are used to describe a unit to compose and analyze acoustmatic music. The role of spatiality and its relationship to vision is also discussed. Three computer programs are presented, each marking the progression in the development of sound object from spatial perspective.
Abstract Practices
(last edited: 2021)
author(s): Andrea Vogrig
connected to: KC Research Portal
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The thesis concern is an open concept of abstraction in sound synthesis processes.
Oscillations of a Parametric Mind
(last edited: 2021)
author(s): Ernest Vilsons
connected to: KC Research Portal
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an assay on sound as thought and composed parametrically
No Borders
(last edited: 2021)
author(s): Margherita Brillada
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
Electroacoustic Music Composition with a Socio-political Theme
Audio Descriptive Synthesis
(last edited: 2021)
author(s): Eddy Savvas Kazazis
connected to: KC Research Portal
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This thesis examines the viability of audio descriptors within a synthe-sis context. It provides insight into acoustical modeling based on verbaldescriptions by quantifying the relationships between verbal attributes oftimbre and a set of audio descriptors. Various predictive models of verbalattribute magnitude estimation (VAME) are also tested. The results showthat is possible to create, classify and order sounds according to a verbaldescription. Finally, audio descriptive synthesis (AUDESSY) is introduced.This technique offers the possibility to synthesize and modulate sounds ac-cording to sonic morphologies, which are revealed by audio descriptors.
Timbral Movements in Electronic Music Composition
(last edited: 2021)
author(s): So Oshi
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
Timbral Movements in Electronic Music Composition
Non Musical Time as a Point of Departure;Time as Inspiration and Theme in the Context of Electronic Music
(last edited: 2021)
author(s): Kacper Ziemianin
connected to: KC Research Portal
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Non Musical Time as a Point of Departure;Time as Inspiration and Theme in the Context of Electronic Music
Entrainment, Participation and Speech
(last edited: 2021)
author(s): Tomer Baruch
This exposition is in progress and its share status is: visible to all.
A Rhythmic Approach to Electroacoustic Composition
Rhythmanalysis
(last edited: 2021)
author(s): Kyriakos Charalampides
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
an expressive method for environment/aesthetics relationship
Composing Circuits, Systems and Interaction
(last edited: 2021)
author(s): Amir Bolzman
connected to: KC Research Portal
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Composing Circuits, Systems and Interaction
Sailing Through the Score-Map: ScanningGraphic Notation for Composing andPerforming Electronic Music
(last edited: 2021)
author(s): Riccardo Marogna
connected to: KC Research Portal
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Graphic notation has always been fascinating to me. As an improvising musicianand composer, I tend to think about music and sound in a visual way. In my experi-ence within the free improvisation context, I have found that graphic notation can bea useful tool for guiding the musicians, defining macro-structures but leaving themwith enough freedom to let them express their ideas and personalities. Starting fromthese explorations, I came to the idea to develop a similar system for electronic musiccomposition. We can identify two threads in this thesis. The first focuses on graphicnotation and the definition of a graphic vocabulary for representing musical mate-rial, and how certain aesthetic choices are conveyed by this kind of representation.This topic is covered in chapters 2 and 3, as well as in chapter 5. In particular, chapter2 presents some inspiring sources for the development of the graphic notation andsome previous works of mine on the topic. Chapter 3 describes the graphic notationdeveloped for the system, as well as the musical ideas that I want to express throughthis graphic vocabulary. The second thread is about optical sound and the conceptofraw scanningas opposed tosymbolicrepresentation. Chapter 4 presents a historicalsurvey on optical sound and, more generally, graphic-based systems for synthesiz-ing sound, both in the analogue and in the digital domain. Chapter 5 goes into thedetailed description of the main outcome of this research, an instrument/interfacefor live electronics called CABOTO, which implements both kind of ideas int theform of asymbolic classifierand araw scanner. Chapter 6 presents some final remarksand future developments. The first chapter serves as an introduction.
Bridging Isles
(last edited: 2021)
author(s): Christos Loupis
connected to: KC Research Portal
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Drifts of Coupling and Other Hand-Shakes
Studio Manoeuvres
(last edited: 2021)
author(s): Yannis Patoukas
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
Exploring historical, technological and aesthetic crossovers between electroacoustic music and experimental rock music of the late 1960s and early 1970s
Source Signals 2
(last edited: 2021)
author(s): Kees Tazelaar
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
Source Signals is an album with music I recorded between 1981 and 1985. The album showcases a transition from pop-oriented guitar tracks to experiments with electronics in which the guitar was the main sound source. Several bass guitar overdubs and one guitar overdub were made before the album was released in 2019. My rediscovery of these tracks and the decision finally to release them also triggered a renewed interest in the guitar as a musical instrument.
After the LP Source Signals was released, I had been playing guitar at home almost on a daily basis, initially without a concrete plan. Gradually, however, an idea developed to compose an acousmatic multichannel work in which guitar playing would be the only source. This became Source Signals 2, an acousmatic eight-channel composition of almost 28 minutes.
Kees Tazelaar - A Handbook for Teaching Analog Studio Techniques in Function of Composing Contemporary Electronic Music
(last edited: 2017)
author(s): Kees Tazelaar
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
One important reason to address the (limitations of) analogue studio techniques in education today, is that they offer a unique possibility to gain insight in the relationship between compositional utopias and studio practice – between ideals concerning sound composition and musical reality.
The Royal Conservatoire houses two unique and predominantly analogue studios: the Karlheinz Stockhausen Studio of the Composition Department, which gives an overview of techniques and equipment from several decades, and the Voltage Control Studio (BEA5) of the Institute of Sonology, which contains one of the largest modular sound synthesis systems currently in operation. Although the handbook in preparation will primarily address Sonology’s analogue studio, users of the Stockhausen Studio will benefit from reading it.
The logic behind Sonology’s analogue studio is inseparable from a serial approach to music composition. Whereas in serially composed instrumental music, the musical dimensions such as pitch, duration and dynamics are treated as separate parameters, in a modular approach to electronic music, the sounds themselves fall apart in parameters. Each module of the analogue system represents a specific function of sound, and together these functions form a network that is physically represented by cables on a patch field. Planning and analysing these networks will be an important aspect of the handbook.
The handbook will discuss analogue studio techniques in education and composition practice not only from a technical perspective but also from a musical one. The author’s previous research in the field of historical production practice by composers such as Jan Boerman, Gottfried Michael Koenig and Dick Raaijmakers will be translated into practical examples.
The research method will consist of experiments in the analogue studio, protocolling the technical configurations and recording the audible results. Working methods of Boerman, Koenig and Raaijmakers will be analysed based on their own documentation, and subsequently translated into the possibilities of the Royal Conservatoire’s studios.
The research will result in a handbook with a theoretical introduction, explanations of pieces of equipment (both in text and in graphical representations), with configurations of equipment divided into the categories of sound production, sound transformation and sound spatialisation, and accompanied by sound examples.
This research, ‘Sound spatialization in live electronic music’, focuses on sound spatialization methodologies in live electronic music where challenges are posed in creating spatial gestures during live performance. The aim is to investigate those challenges by looking into my previous experiences with various multichannel systems, and to develop and experiment with software and hardware tools. The result of this research will be newly composed pieces with two different multichannel systems that contain a creative suggestion for dealing with sound spatialization.open exposition comments (0)