This paper presents an interdisciplinary approach to the composition of a piece for orchestra entitled Analogies. Composition involved the creation of musical analogies to structural characteristics found in architecture. ...

This article considers ideas of image and space as they apply to acousmatic music and to sound art, establishing overlaps and compatibilities which are perhaps overlooked in the current trend to consider these two genres ...

Presenting electroacoustic music has traditionally involved large spaces and high quality listening environments set up in (very often) architecturally imposing spaces. Recent works of mine involve the development of ...

A common musical aim of orchestration is to achieve a blended timbre for certain instrument combinations. Its success has been shown to also depend on the timbral coordination between musicians during performance, which ...

Certain combinations of musical instruments lead to perceptually more blended timbres than others. Orchestration commonly seeks these combinations and can benefit from generalized acoustical descriptions of perceptually ...

Wind instrument sounds can be shown to be characterized by pitch-invariant spectral maxima or formants. An acoustical signal-analysis approach is pursued to obtain spectral-envelope descriptions that reveal these pitch- ...

'Estuaries 3' is the third of the author's Estuaries series of audiovisual compositions, which explore the expressive potential of the author's Variable-Coupled Map Networks and the author's OptiNelder video filter for ...

A discussion on the evolution of live electronic and interactive musics - the relationship of live performer to technology. The idea of 'space frames' is developed. As the live performance reaches wider (prosthesis) control ...

Nodewebba software provides a GUI implementation of the author’ s “Variable-Coupled Map Networks” (VCMN) approach to algorithmic composition. A VCMN node consists of a simple iterated map, timing controls, and controls for ...

This chapter examines the relationship of 'music' (which has a 'beginning, middle, end' paradigm) and 'sound art' which may be formed over time by the listener/participant. The emergence of a continuum undermines assumptions ...