Straddling the intersection

Music technology straddles the intersection between art and science and presents those who choose to work within its sphere with many practical challenges as well as creative possibilities. The paper focuses on four main areas: secondary education, higher education, practice and research and finally collaboration. The paper emphasises the importance of collaboration in tackling the challenges of interdisciplinarity and in influencing future technological developments

Alea III, Iannis Xenakis in First Person, November 14, 2012

This is the concert program of the Alea III, Iannis Xenakis in First Person performance on Wednesday, November 14, 2012 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Dipli Ziya, Evryali, Elecroacoustic Sonorities, Persépolis, Persephassa, Okkho, and Charisma by Iannis Xenakis. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

The Two Composers, November 19, 2009

This is the concert program of the Two Composers performance on Thursday, November 19, 2009 at 7:30 p.m., at the Marshall Room, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were Catapult by Marc Berger, transit out by Ketty Nez, Viola Sonata by Peter Child, and Viola Sonata op. 53 by Charles Koechlin. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Graduate Catalog, 1985-1986

https://scholar.valpo.edu/gradcatalogs/1013/thumbnail.jp

Graduate Catalog, 1986-1987

https://scholar.valpo.edu/gradcatalogs/1014/thumbnail.jp

Fear and the musical avant-garde in games: Interviews with Jason Graves, Garry Schyman, Paul Gorman and Michael Kamper

© 2014 Intellect Ltd Article. If you have ever experienced the cold chill of fear when watching a film or playing a video or computer game, it is highly probable that your responses have been manipulated by composers exploiting the musical resources of modernism, experimental music and the avant-garde. Depictions of fear, horror, amorality, evil and so on, have come to be associated with these sound worlds, particularly within the realm of popular culture. A number of game titles and franchises have emerged in recent years, which exploit these musical associations, exploring their creative potential as vehicles of fear and horror within the context of interactive game-play. Two composers associated with this approach are Jason Graves (Dead Space franchise) and Garry Schyman (Bioshock franchise, Dante’s Inferno). This article explores perceived links between avant-garde music (as defined in ‘populist’ rather than musicological or historical terms, as a ‘catch-all’ phrase for twentieth-century music exploiting experimental techniques, modernism and atonality) and depictions of horror and fear through interviews with Graves and Schyman. Further questions are posed to Paul Gorman (audio director – Dante’s Inferno) and Michael Kamper (audio director – Bioshock 2) to contextualize the discussion by demonstrating the significant creative influence of audio directors in guiding the musical approach taken by game composers. The article would be of potential interest to anyone with an interest in game audio, commercial composition/composers, game development, creative collaboration, audio direction and the power of music to manipulate the emotions in association with visual media

Graduate Catalog, 1982-1983

https://scholar.valpo.edu/gradcatalogs/1011/thumbnail.jp