Concert Two

Heavyweight: No Man’s Land utilizes space, both physically and conceptually, as the main element of composition. Different spaces in which we find ourselves during the course of the piece come together as chapters of a continuous narrative.

Bloom is a piece for violoncello and live electronics that explores tension, using the metaphor of a blooming flower as the basis from which the musical material and form are derived. The work begins with a very simple melodic idea using natural harmonics. These harmonics are developed throughout the piece, eventually blurring the line between pitch and noise, meter and aleatory, and acoustic and electronic elements. The electronic element of the piece is realized using live input from the cello only. This relies on specific musical parameters (namely amplitude and frequency) to control how the input is processed. The piece concludes with a quasi-recapitulation of the opening, this time incorporating non-harmonic tones. This is the most mature statement of the original melodic idea in the piece, which signifies completion of the flowering process.

Progression II was created by updating a prior piece, formerly written only for piano, and incorporating electronic music elements to create a new soundscape.

This piece is a solo snare drum work reflecting non-sequitur in my life experience.At some points, disparate sounds or timbres occur rapidly. At other times, a consistent texture of sound emerges to be interrupted and lost later.

Art by Nicholas Barrett. Voices are provided by the frogs of the Carso.

Mývatn is one possible scene from a larger collection of pieces based on natural ecosystems. The performer traverses a sonic landscape pulling from the areas surrounding Mývatn lake in Iceland, creating a new sonic ecosystem.

Landfill 1.5 is an investigation into the emerging singularity between humans and technology. The piece uses pre-recorded sounds and images contributed by technology and recorded manipulation of that media contributed by a human to create a work where the two clash.

Computer Music II is a scored and expanded version of Computer Music I which is a loosely constructed, improvisatory solo piece for feedback and objects that was written and performed in 2019 for the Open Source music series at Coaxial Arts in Los Angeles.

COVID-19 Genomic Navigator is a motion sensing glove that sonifies the protein genomic data of COVID-19, which was extracted from The National Center for Biotechnology Information (NCBI) and Protein Data Bank (PDB). The PDB files show the structure of the proteins at the atomic and amino acid scale, which contributes to the multi-dimensional parameter mapping of the synthesized sounds. Three sets of data were selected in the project, including 7B3C, 7D4F, and 7KRP, which are all RNA-dependent RNA polymerase (RdRp) related. It was formatted into prn or csv files and was read in Max patches, which sends OSC message to Kyma (Symbolic Sound), which performs audio signal processing in multiple synthesizers through parameter mapping. The three protein data sets distribute evenly in space while the motion sensing glove navigates and sonifies the data in both physical space and time synchronously. The motion sensing glove captures the data of hand gestures and movement, then sends from the Arduino to Max patch through OSC messages, which controls the graphical user interface (GUI) in Max that manages the parameters of the synthesizers in Kyma through OSC messages. The project also incorporates machine learning, which interprets the data from the glove, specifically.

TBD

Sapere Aude (Dare to Know) examines connection, tangent, and identity through a dynamic and interactive connection between computer and flute; the computer listens to the flautist and responds to their decisions, and the flautist does the same. As the flute’s web grows more varied, complex, and radical, so too does the computer’s, reflecting the ways that we affect and shape one another.