Considering the human voice as a biological sonification of a person's physical and neuropsychological state, the author discusses the potential applications of perceptualizing voice through further sonification of its acoustic properties into synthesized sound structures. Live data streams are collected as control signals and mapped to signifying parameters within a synthesizer. In the author’s musical research and compositional applications, experimentation between voice and sonification has revealed the potential for future research between sonification and musicality.
This article was published in Leonardo Music Journal December 2014, Vol. 24: 1–2.
The concept of a voice-index is discussed as a means of creating a live digital voice. Vocal feature extraction employs the voice as a live electronic interface, referenced in the author’s performative work.
This document was written in partial fulfillment of The Institute of Sonology Second Phase (Masters Degree) curriculum. Emsis (Éditions Musique Sisyphe) published this work in 2010.
Rhythm is differentiated from its traditional definitions–this paper does not seek to understand beat-based or metered electronic music. The aim of this paper is to generate alternative perspectives of rhythm and begin to formulate a new rhythmic organization particular to computer music. The background is drawn from the context of contemporary concert music and in particular, the rhythmic concerns expressed by Edgar Varèse. His approach to rhythm will be addressed as a point of reference and departure. An inclusive survey of rhythmic inventions found throughout the arts will provide insight into the organization of sound and will examine and facilitate the following views particular to computer music: a) the internal rhythmic structure of sound, micro rhythm in micro sound, and microstructures, b) multiple layers of sound objects as rhythmic structures, symmetrical textures, and possibilities with metric organization, geometric design, and spatialization as an integrated aspect of rhythmic form, c) the redefinition of measures in favour of masses and rhythmic complexity in algorithmic composition, and d) rhythm as force and the generator of form, dynamic systems, proportions, and growth patterns.