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My compositional philosophy revolves around two basic principles: - the relationship in music between formal structure and aesthetic intuition - elegant mappings between or within domains.
During my doctoral studies I completed most of the coursework towards a masters in abstract mathematics, and applied these insights to develop my own highly-formal compositional processes. I use rules-based generative or transformative systems. In this paradigm, one does not directly determine individual musical events. Instead, one defines a set of formal rules that either generate new material, or operate on existing material to produce a different musical result. The set of possible rules is immense, and so the integrity of a composition is managed through a carefully defined axiom schema that informs the meta-rule set.
At the same time, music is also deeply embedded into our brain, from cerebral cortex to limbic system, and, no matter how mathematically elegant the rules system and resultant music may be, it must also provoke an emotional response from the audience. Thus, I pursue my Holy Grail: music that is both formally consistent and at the same time ravishingly beautiful.
I provide below four separate types of formal process that I have employed in my compositions
During my doctoral studies I completed most of the coursework towards a masters in abstract mathematics, and applied these insights to develop my own highly-formal compositional processes. I use rules-based generative or transformative systems. In this paradigm, one does not directly determine individual musical events. Instead, one defines a set of formal rules that either generate new material, or operate on existing material to produce a different musical result. The set of possible rules is immense, and so the integrity of a composition is managed through a carefully defined axiom schema that informs the meta-rule set.
At the same time, music is also deeply embedded into our brain, from cerebral cortex to limbic system, and, no matter how mathematically elegant the rules system and resultant music may be, it must also provoke an emotional response from the audience. Thus, I pursue my Holy Grail: music that is both formally consistent and at the same time ravishingly beautiful.
I provide below four separate types of formal process that I have employed in my compositions
Transformational Composition
Transformational Composition
Starting with existing music, CAREFULLY apply transformation rules to that music to create a different result.
Recursion and Self-referentiality
Recursion and Self-referentiality
Composing pieces of music made up of smaller copies of themselves.
n-Space Rotations
n-Space Rotations
Parameterizing an existing musical structure into an n-dimensional cartesian space, applying linear transformations on this structure, then reconverting back into the musical domain.
Homogenous Pitch Networks
Homogenous Pitch Networks
Particular structures of pitch and pitch class exhibit the property of homogeneity: any equivalent vector distance in a homogenous network will result in equivalent interval. A trivial example is the Z12 set of chromatic pitches arranged in semitone order. This is a one dimensional homogenous structure: I explore two-dimensional homogenous networks
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