Mapping Textile Patterns into Sonic Experience

This portfolio contains seven works for a variety of ensembles and explores a number of distinct approaches of mapping textile patterns into musical parameters, incorporating various compositional techniques, such as microtonality, minimalism, serialism, and stochastic composition. The commentary examines the aesthetic links between the compositions through the exploration of the interaction of visuals and sonic art, analysing in detail the analogous features between them. It is not the intention of this commentary to inform the reader how to compose music that is derived from textile patterns. Instead, this commentary is to be viewed as a personal creative method, describing the concepts and techniques employed in the music. The commentary is divided into two parts. The first part aims to outline the general methods involved in the construction of textile patterns, focusing on possible relations with various musical parameters. The second part presents these ideas as realised in the practical setting of my compositional work, drawing on the diverse strands of my artistic practice

Computational approaches for the understanding of melody in carnatic music

The classical music traditions of the Indian subcontinent,/nHindustani and Carnatic, offer an excellent ground on which/nto test the limitations of current music information research/napproaches. At the same time, studies based on these music/ntraditions can shed light on how to solve new and complex/nmusic modeling problems. Both traditions have very distinct/ncharacteristics, specially compared with western ones:/nthey have developed unique instruments, musical forms, performance/npractices, social uses and context. In this article,/nwe focus on the Carnatic music tradition of south India, especially/non its melodic characteristics. We overview the/ntheoretical aspects that are relevant for music information/nresearch and discuss the scarce computational approaches/ndeveloped so far. We put emphasis on the limitations of the/ncurrent methodologies and we present open issues that have/nnot yet been addressed and that we believe are important to/nbe worked on.The research leading to these results has received funding/nfrom the European Research Council under the European/nUnion’s Seventh Framework Programme (FP7/2007-2013)/n/ ERC grant agreement 267583 (CompMusic)