Development of a Low-cost Hybrid Music Synthesizer

Until recently, affordable music equipment has always been seen as “budget”, providing a poor user experience. Inexpensive equipment was plagued with audible noise, signal integrity issues, and convoluted user interfaces. Companies like Teenage Engineering have proven that this does not have to be the case, in 2019 introducing their Pocket Operator” series for $89. Due to the modern availability of low cost, high quality, consumer off the shelf [COTS] analog and digital components as well as creative engineering, the quality of inexpensive audio equipment has increased significantly. Despite these industry advances, the market is relatively small and shows a great potential for growth. This senior project capitalizes on this market possibility, providing a low-cost analog/ digital hybrid synthesizer architecture without the aforementioned caveats of poor signal integrity, user interface and sound quality. The synthesizer provides a low latency, simple to use, visual interface to the user. This visual interface allows intuitive and simple-to-learn access to the synthesizer’s parameters. The value of these parameters can also be loaded or saved from non-volatile memory. The power will be provided locally by a battery. Therefore, the synthesizer’s power draw will be low enough to ensure a significant on-time. Physically, the synthesizer provides industry standard audio connectivity to be interfaced with the end user’s existing equipment

Portfolio of Compositions: Systematic composition of cross-genre hybrid music

The research focus of this PhD thesis is the development of a new technique for composing original musical compositions in which elements from different musical genres are hybridised. The innovative aspect of achieving balanced hybridity is the development of a systematic approach to selecting and synthesising or hybridising key musical elements across a range of different genres. The major component of this submission is a portfolio of nine original works with attached CD/DVD recordings. 1. Tracking Forward for viola, backing track and video 2. The Long White Cloud for chamber band and electronics 3. ‘Colorless green ideas sleep furiously’ for orchestra 4. Push for Miles for electric bass and backing track 5. Norse Suite for viola and cello 6. The Foggy Field a studio construction 7. Into the Nocturnal Sunshine for flute, viola, cello, drums and electronics 8. One Night, New Breath for taonga puoro, viola, drums and electronics 9. Sketches of an Intergalactic Earworm for piano trio and boombox The accompanying documentation clarifies, and contextualises the creation and presentation of these works; and illuminates the aesthetic underpinnings and compositional techniques developed and utilised as a part of this hybrid-genre compositional approach. The structure of the supporting exegesis is in two parts: the methodology of practice-based research, and reflective investigation. Part One (Chapters 1 and 2) is an introductory overview; an observation of the existing literature and related work, relevant creative practice in the composer’s previous work; and the compositional methodology – including an explanation of the genre matrix. Part Two (Chapters 3 to 12) analyses the use of genre, the balance of hybridity, and relevant compositional techniques utilised in the development of each individual piece

The maintenance of Central Thai cultural identity through hybrid music genres

Thailand has experienced rapid industrialisation, modernisation and cultural changesince the mid-nineteenth century. Many Western cultural forms have been adopted intoThai life, including Western popular music. An external view of these processes andtheir results might suggest that Thailand has become quite ‘Western’. However, closeranalysis reveals that elements of foreign cultures have long been adopted and adaptedinto Thai culture, and used as social capital to build an image of modernity andcosmopolitan sophistication.One of the adaptations made has been the fusion of Western genres with Thaiones, to form new hybrid styles of music. One hybrid genre that has developed largelyover the past half century is Dontri Thai Prayuk (‘modernised Thai music’), whichfuses aspects of Western pop with elements of Central Thai classical music. As thispaper demonstrates, clear patterns emerge in the way Thai musicians have maintainedmarkers of Thai identity and fused them with Western elements that signifymodernisation.Motivations behind this deliberate fusion of Thai and Western elements areexplained by the theories of ‘musical accommodation’ and ‘acts of identity’ – thatmusicians will converge with or diverge from other music-cultures in order to gainapproval or assert a separate identity, in ways that deliberately change the underlyingrules of the source musics to form a new identity. Analysis of Dontri Thai Prayukfusion music shows that it has changed the underlying rules of Thai classical andWestern popular music to display a music-cultural identity that is Thai, yet modern

Broadway Quodlibets as Hybrid Music

Quodlibets are an important facet of the language of musical theater and exhibit musical hybridity, mixing two or more musical elements. Bruno Alcalde’s framework of musical hybridity—including mixture strategies of clash, coexistence, distortion, and trajectory—provides a framework for the analysis, revealing more about the music itself and how the music contributes to the dramatic narrative of each musical scene. Examples of Broadway quodlibets illustrate the relevant mixture strategies; “Lida Rose/Will I Ever Tell You” from The Music Man, “An Old-Fashioned Wedding” from Annie Get Your Gun, “All For the Best” from Gospell, “I Still Believe” from Miss Saigon, “One Short Day” from Wicked, “Dancin’” from Xanadu, and “96,000” from In the Heights are the examples included in this analysis. Investigating Broadway quodlibets is a fruitful area of research, and Alcalde’s theory of musical hybridity is well-suited to further understanding songs in this category

Isomorphic Correspondence: Hybrid Different Media: Music and Architecture

School of Crafting Instruments: Hudson Yard in Manhattan, New York, NY In my thesis approach to the music and architecture, I am not evoking the classical Pythagoras and Palladio. I am more dealing with architecture and music as new ground of present architecture and new hybrid medium between them... Architecture, just linked music with simple arithmetic ratios, should confront and try to parallel to contemporary music theory... To hybrid these different media, I have chosen the instruments and Bella Bartok\u27s musical Theory. Instrument has architectonic form with musical character while Bartok\u27s musical theory has visual character. These two media can be sources of the hybrid music and architecture