Music often conveys a sense of “gesture”, anevocation of motion and energy, which makes it dramatic, exciting, and expressive. One common challenge in the production of algorithmically-generated computer music is the question of how to imbue the sound with the excitement and vitality of liveperformance. In the case of interactive computer music, one has the additional challenge of programming the computer to interpret the expressive qualities of musicbeing performed in real time. This lecture presents an approach to automaticallyanalyzing and characterizing gesture in musical sound, as a way of improving a computer’s interaction with a human performer in a live improvisation. By describing music as patterns of changing parametric data, the computer can store and categorize descriptors of musical gestures. As an extension of that research, we can then consider how derivatives of that analysis data—the ways in which the data changes over time—characterize thegestural quality of a performance. In the algorithmic generation of music, control of those derivatives of change in musical parameters can improve the expressivepotential of computerized improvisation.
Audio recording of: Indignant Minority Scheme for flute and iPad by Christopher Dobrian, with Nicole Mitchell
For flute and iPad
Premiered by Nicole Mitchell and Christopher Dobrian
Music score of: 18 Points of Coincidence by Christopher Dobrian, with Kei Akagi.
For jazz piano and orchestra
A lack of diversity among faculty and students in graduate programs that focus on music technology and computer music may unwittingly discourage participation by certain segments of the population, and thus may hinder the development of a potentially wide variety of ideas andaesthetics. Graduate student numbers of women and minorities in the field are proportionally low. In the absence of any concerted plan of action to diversify such programs, this state of affairs is not likely to change. What can be done to increase diversity among people succeedingin the academic fields of music technology, in the interest of hybrid vigor and social justice? By pursuing a conscientious policy of intentional inclusivity, some progress may be made toward rectifying imbalances, thus enhancing diversity of scholarship and creative work. This article makes an assessment of demographic imbalances and proposes some concrete steps facultymay be able to take toward improvement.
Music score of: Haibun for shakuhachi and jazz trio
Written for and premiered by Kojiro Umezaki, shakuhachi; Kei Agai, piano; Darek Oles, bass; Tamaya Honda, drums
Includes notes on the formal and harmonic structure by the composer
Music score of: Shadow Play for piano trio by Christopher Dobrian
Written for and premiered by the Trio Céleste (Iryna Krechkovsky, violin; Ross Gasworth, violoncello; Kevin Loucks, piano)
For violin, violoncello, and piano
Music score and audio recording of: Point of No Arrival by Christopher Dobrian
For cello and computer
Premiered by Margaret Parkins
Music score of: Now & Tomorrow by Christopher Dobrian
For flute and guitar
Music score of: Riley's Revenge by Christopher Dobrian
For alto sax, tenor sax, guitar, bass, piano, and drums
Music score and audio recording of: Upon Reflection by Christopher Dobrian
For piano four hands
Written for and premiered by Mari Akagi and Kei Akagi in Sendai, Japan.
This recording is a solo version for Disklavier piano and interactive computer system, performed by Daniel Koppelman.
Score includes a dedicatory statement by the composer.
