Cyclical Flow: Spatial Synthesis Sound Toy as Multichannel Composition Tool

This paper outlines and discusses an interactive system designed as a playful ‘sound toy’ for spatial composition. Proposed models of composition and design in this context are discussed. The design, functionality and application of the software system is then outlined and summarised. The paper concludes with observations from use, and discussion of future developments

Cueing and composing for long distance network music collaborations.

Long distance network music collaborations beyond the ensemble performance threshold (EPT) as exposed by Schuett in 2002 [14] where playability is affected beyond a roundtrip network delay of 50ms calls for the development of cueing mechanisms that are methodical and linked to musical parameters. The cueing strategies involved in such musical interactions will depend on the type of repertoire played and the network distance (ND) between the nodes involved in the performance. This paper proposes a semi-standardized cueing framework for real time collaborations over the network with latencies of more than 50ms. The paper also explores a compositional methodology for creating network centric performances, which couldn’t occur outside of a networked situation

Introducing TaCEM and the TIAALS software.

This paper introduces the TaCEM project (Technology and Creativity in Electroacoustic Music), funded for 30 months by the Arts and Humanities Research Council in the UK, investigating the relationship between technological innovation and creative practice in electroacoustic music of the last 40 years (http://www.hud.ac.uk/research/researchcentres/tacem/). It is a collaborative project between the universities of Huddersfield and Durham in the UK and outputs from the project will include a book and freely available interactive software. This paper explains the context for the project and its goals, and discusses some of the generic software that is being developed as part of the project, intended not only for use in the project itself but also to be freely available for others to use in the study of any electroacoustic work as appropriate

Components Interoperability through Mediating Connector Patterns

A key objective for ubiquitous environments is to enable system interoperability between system's components that are highly heterogeneous. In particular, the challenge is to embed in the system architecture the necessary support to cope with behavioral diversity in order to allow components to coordinate and communicate. The continuously evolving environment further asks for an automated and on-the-fly approach. In this paper we present the design building blocks for the dynamic and on-the-fly interoperability between heterogeneous components. Specifically, we describe an Architectural Pattern called Mediating Connector, that is the key enabler for communication. In addition, we present a set of Basic Mediator Patterns, that describe the basic mismatches which can occur when components try to interact, and their corresponding solutions.Comment: In Proceedings WCSI 2010, arXiv:1010.233

An algorithm for weak synthesis observation equivalence for compositional supervisor synthesis

This paper proposes an algorithm to simplify automata in such a way that compositional synthesis results are preserved in every possible context. It relaxes some requirements of synthesis observation equivalence from previous work, so that better abstractions can be obtained. The paper describes the algorithm, adapted from known bisimulation equivalence algorithms, for the improved abstraction method. The algorithm has been implemented in the DES software tool Supremica and has been used to compute modular supervisors for several large benchmark examples. It successfully computes modular supervisors for systems with more than 1012 reachable states

Aspects of openness and specificity in post-minimal music

This commentary discusses my exploration in applying openness to minimalist compositional methods in the forms of inclusivity, democracy, intuition, improvisation and non-teleology. Additionally, I consider methods of balancing such openness with the specificity of virtuosity, idiom and process within my Master of Arts by Research portfolio of compositions. Each section of the thesis details my approach to different aspects of openness and specificity as a post-minimalist composer and how I have considered them in my music, including; contextualising my music within contemporary and historical manifestations of minimalist music and wider discourse; paradigms of role, format and protocol in the musical process; enculturation in the process of musical learning. I have referred to a wide range of academic and informal literature, music and media to substantiate my research interests as relevant to contemporary music and its practitioners, and widespread in popular and vernacular idioms. I conclude to clarify the position of my compositions and their methodologies in a relevant post-minimalist context and their functions as archetypes of a pragmatic system for future compositions