Learning an Orchestra Conductor's Technique Using a Wearable Sensor Platform

Our study focuses on finding new input devices for a system allowing users with any skill to configure and conduct a virtual orchestra in real-time. As a first step, we conducted a user study to learn more about the interaction between a conductor's gestures and the orchestra 's reaction. During an orchestra rehearsal session, we observed a conductor's timing and gestures using the eWatch, a wrist-worn wearable computer and sensor platform. The gestures are analyzed and compared to the music of the orchestra

SCLOrk 2.0

For the past 10 years, the Laptop Orchestra is an emerging interdisciplinary field that involves Computer Science, Engineering, and music. In the past 4 years, Santa Clara University has developed it’s own Laptop Orchestra ensemble called SCLork. For this project, we will be making improvements to the Laptop Orchestra by incorporating a mobile phone element for audience participation. In addition, we will be designing an original composition using computer science sound synthesis techniques. Our mobile element is implemented as a mobile-friendly website that will be accessed by audience members. This website will be used in tandem by both audience and performers. Data received by the website will be sent to a program called SuperCollider to sort data and to play a musical melodies

Fake It ‘Til You Make It: The Virtual Orchestra in New Electronic Music

This paper describes a variety of audio technologies under the neologism “the virtual orchestra,” their relationship with neoliberal capitalism, and four electronic music works that utilise these technologies to highlight this relationship. The virtual orchestra comprises digital technologies that emulate orchestral performances, ranging from the ersatz sounds of General MIDI in the 1990s (often used in computer game soundtracks), to orchestral sample libraries, which can be virtually indiscernible from a well-recorded orchestral performance. It is suggested that the virtual orchestra emerged as part of a cultural movement that privileges individualism and control, and that this has precedence in the structure and hierarchies of the symphony orchestra. The four works discussed—by Lana Del Rey, Oneohtrix Point Never, Elysia Crampton, and Steven Warwick—utilise virtual orchestras in unconventional and ambivalent ways that refer to the lived experiences and effects of this condition

Musical direction of student end of year concert 2018

Musical direction of Wintec Song Arranging class of 2018 End Of Year Concert. A public performance of students' final arrangements from the semester 1 paper. The un-themed program, a selection of popular tunes from 1960s - 2018 was devised to offer students the opportunity to hear their arrangements performed live by a small orchestra comprised of piano, guitar, bass and drums, trumpet, alto sax, tenor sax and trombone and a string section of 3 1st violins, 2 second violins, 2 violas and 2 cellos. Prior to this performance the students were only able to hear their work played as a computer-generated audio file (far from ideal) so the concert provided an invaluable 'real world' experience. The performance was devised as a professional experience - the tutor acting as Producer and Musical Director/Conductor, the students becoming arrangers who also prepared their scores and instrumental parts ready for printing and performance within real-time deadlines to emulate a real-world work experience

Faculty recital series: Ketty Nez and Katie Wolfe with Andrew Shenton, October 27, 2006

This is the concert program of the faculty recital of Ketty Nez, Katie Wolfe, and Andrew Shenton on Friday, October 27, 2006 at 8:00 p.m. at TIME, at the Boston University Concert Hall, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were Théme et Variations by Oliver Messiaen, wrestless by Ketty Nez, In Variations by Robert Morris, Those Infernal Exsanguinators by Tom Schnauber, and Capriccio by David Dzubay. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Promulgation An Original Musical Composition for Chamber Orchestra and Computer

Promulgation is an interactive composition in which the orchestra and computer communicate through musical motives contained in the Command Motive Score. The musical content as well as the highly organized aleatoric environment is controlled by a system of probabilities. The orchestra is divided into four ensembles of dissimilar instrumentation. The music consists of several scores that are performed different ways. The first score is the Command Motive Score performed by the computer. The second is the Prelude Score performed by the orchestra. The third is the Continuum Score performed by the orchestra. The fourth is a group of scores called Auxiliary Scores performed by each respective ensemble. The fifth is another group of four scores performed by trumpet, cello, piano, and tuba

Conducting a virtual ensemble with a kinect device

This paper presents a gesture-based interaction technique for the implementation of an orchestra conductor and a virtual ensemble, using a 3D camera-based sensor to capture user’s gestures. In particular, a human-computer interface has been developed to recognize conducting gestures using a Microsoft Kinect device. The system allows the conductor to control both the tempo in the piece played as well as the dynamics of each instrument set independently. In order to modify the tempo in the playback, a time-frequency processing-based algorithmis used. Finally, an experiment was conducted to assess user’s opinion of the system as well as experimentally confirm if the features in the system were effectively improving user experience or not.This work has been funded by the Ministerio de Economia y Competitividad of the Spanish Government under Project No. TIN2010-21089-C03-02 and Project No. IPT-2011-0885-430000 and by the Junta de Andalucia under Project No. P11-TIC-7154. The work has been done at Universidad de Malaga. Campus de Excelencia Internacional Andalucia Tech

Fall Arts Festival 2012

This is the concert program of the Fall Arts Festival performance on Friday, October 19, 2012 at 8:00 p.m., at the Boston University Concert Hall, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were Stimmt an die Saiten from Die Schöpfung by Franz Josef Haydn, En Ego Campana by Jacob Handl, Mon couer se recommande à vous by Orlande de Lassus, Dirait-on from Chansons des Roses by Morten Lauridsen, Zion's Walls, Long Time Ago, An Immorality and Stomp Your Foot from The Tender Land by Aaron Copland, RIDE by Samuel R. Hazo, Sòlas Ané, Celebration! by Adolphus Hailstork, Resting in the Peace of His Hands by John Gibson, Apollo Unleashed from Symphony No. 2 by Frank Ticheli, Slavonic Dances No. 7, op. 72 and Slavonic Dances No. 2, op. 72 by Antonín Dvořák, and Swan Lake Suite, op. 20a by Pyotr Ilyich Tchaikovsky. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Easterner, Volume 37, No. 4, October 17, 1985

This issue of the Easterner includes articles about computer thefts in Patterson and Monroe halls, a delay the development of a strategic plan called EWU 2000, a creative watchdog called Accuracy in Academia, a campus crisis line called the Help-line, new buses servicing campus, International Student Association President Ram Gopal, Eastern Orchestra conductor Stefan Kozinski, cuts in campus security, and the cross country and football seasons.https://dc.ewu.edu/student_newspapers/2411/thumbnail.jp