ROBERT ASHLEY (1930-) Warren Burt Robert Ashley was born in 1930 in Ann Arbor, Michigan. ... CENT... more ROBERT ASHLEY (1930-) Warren Burt Robert Ashley was born in 1930 in Ann Arbor, Michigan. ... CENTURY AVANT-GARDE these tours, from 1964 to 1969, Ashley presented the first of his mixed-media operas, notably That Morning Thing and In Memoriam Kit Carson (1963). ...
This paper describes a series of mathematical functions implemented by the author in the commerci... more This paper describes a series of mathematical functions implemented by the author in the commercial algorithmic software language ArtWonk, written by John Dunn, which are offered with that language as resources for composers. It gives a history of the development of the functions, with an emphasis on how I developed them for use in my compositions.
They bought their Bolex camera in 1960, and their first experimental films followed in 1961-62. F... more They bought their Bolex camera in 1960, and their first experimental films followed in 1961-62. Films like Mud, Kinegraffiti, Galaxy and Nebulae, were all more or less stylised or abstract with soundtracks inspired by musique concrete experiments. In the years that followed, they made a large number of films, published 100 issues of Cantrills Film notes and gave innumerable screenings of works by themselves and other experimental filmmakers. This is a severely edited version of an interview conducted by Warren Burt via telephone on
Composer, conductor and head of IRCAM (the Institute for Co-ordinated Research in Acoustics and M... more Composer, conductor and head of IRCAM (the Institute for Co-ordinated Research in Acoustics and Music) Pierre Boulez speaks about the inclusion of technology in composition work at IRCAM and its advantages and disadvantages. He believes that technology is very good to use when it is successful, and provides instances of the need to modify compositions to suit the technology available.
IFIP advances in information and communication technology, 2010
The terms "cultural computing" and "entertainment computing" can be disturbing if looked at from ... more The terms "cultural computing" and "entertainment computing" can be disturbing if looked at from the artists' point of view. Computing has always been part of the culture of the time, and this was especially true in the decades surrounding the birth of computing, when the structuralist paradigm was dominant in many areas of human endeavour. Perhaps what distinguishes, or should distinguish, "cultural" computing from other types of computing is its attitude: one of playfulness and light-hearted cleverness. This premise is discussed mainly from a musical point-of-view-examples from the computer music literature, including works by the author, are discussed in this context.
musical applications of probability distributions From mid 2004 until early 2005, I was involved ... more musical applications of probability distributions From mid 2004 until early 2005, I was involved in a project to compose works for a series of computercontrolled acoustic instruments, some of which are microtonal, built by Godfried Willem Raes and associates at the Logos Foundation in Gent, Belgium. However, I was in Wollongong. I composed for these works by long distance, using the internet, in a slow, non-real time manner. Further, I composed the music for these instruments using a series of over two dozen mathematical functions that I implemented for John Dunn's ArtWonk and SoftStep Windows algorithmic composing environments. The pieces then, are the product of two intercontinental collaborations, one with the software, another with the instruments. This paper briefly examines the instruments, the method of internet collaboration that occurred, the functions implemented in the software to compose the pieces, and the pieces themselves. It also looks in somewhat more depth at harmonic structures implemented in one of the pieces, and details of its composition.
In this chapter, the composer of algorithmic compositions discusses in detail the creation and ap... more In this chapter, the composer of algorithmic compositions discusses in detail the creation and application of a range of nondeterministic processes to his own music, video, and verbal composition. In particular, the chapter discusses the more intuitive use of these processes over the last decade or so, and its relation to increasing involvement with improvisation. After considering three particular works and the resources chosen for them (some of music, some of text and some of procedures or formulations with overpowering diversity), the chapter concludes with a discussion of the social context of a contemporary algorithmic musician, and its lack of direct social contact and of economic sustainability.
A reply is presented to James Koehne's article 'Avant garde and rear guard in contemporar... more A reply is presented to James Koehne's article 'Avant garde and rear guard in contemporary music' (Meanjin 3/1985) on the supposed decline of avant-garde music in contemporary Australian music in favour of tonality. It is observed that Koehne's critique is inadequate in its understanding of avant-garde music, the background to the use of tonality in contemporary music and the relationship of music with the audience.
Australian journal of music education, Oct 1, 1976
To cite this article: Craig, Dale A; Elliott, P; Burt, Warren and Farrant, Jean. Music: For the C... more To cite this article: Craig, Dale A; Elliott, P; Burt, Warren and Farrant, Jean. Music: For the Classroom [online]. Australian Journal of Music Education, No. 19, Oct 1976: 65-68. Availability: <http://search.informit.com.au/documentSummary;dn=378995617005808;res=IELHSS> ...
... Experimental music in Australia using live electronics Warren Burt ... A large and varied amo... more ... Experimental music in Australia using live electronics Warren Burt ... A large and varied amount of live-electronic experimental music is performed in Australia. ...
Continuum: Journal of Media & Cultural Studies, 1994
... Derek Kreckler's "White Pointer - You are listening to the sounds of humans observi... more ... Derek Kreckler's "White Pointer - You are listening to the sounds of humans observing fish at the New York Aquarium", installed at the Victorian Centre for Photography, was a work in which multiple small loudspeakers were suspended along a white wall. ...
ROBERT ASHLEY (1930-) Warren Burt Robert Ashley was born in 1930 in Ann Arbor, Michigan. ... CENT... more ROBERT ASHLEY (1930-) Warren Burt Robert Ashley was born in 1930 in Ann Arbor, Michigan. ... CENTURY AVANT-GARDE these tours, from 1964 to 1969, Ashley presented the first of his mixed-media operas, notably That Morning Thing and In Memoriam Kit Carson (1963). ...
This paper describes a series of mathematical functions implemented by the author in the commerci... more This paper describes a series of mathematical functions implemented by the author in the commercial algorithmic software language ArtWonk, written by John Dunn, which are offered with that language as resources for composers. It gives a history of the development of the functions, with an emphasis on how I developed them for use in my compositions.
They bought their Bolex camera in 1960, and their first experimental films followed in 1961-62. F... more They bought their Bolex camera in 1960, and their first experimental films followed in 1961-62. Films like Mud, Kinegraffiti, Galaxy and Nebulae, were all more or less stylised or abstract with soundtracks inspired by musique concrete experiments. In the years that followed, they made a large number of films, published 100 issues of Cantrills Film notes and gave innumerable screenings of works by themselves and other experimental filmmakers. This is a severely edited version of an interview conducted by Warren Burt via telephone on
Composer, conductor and head of IRCAM (the Institute for Co-ordinated Research in Acoustics and M... more Composer, conductor and head of IRCAM (the Institute for Co-ordinated Research in Acoustics and Music) Pierre Boulez speaks about the inclusion of technology in composition work at IRCAM and its advantages and disadvantages. He believes that technology is very good to use when it is successful, and provides instances of the need to modify compositions to suit the technology available.
IFIP advances in information and communication technology, 2010
The terms "cultural computing" and "entertainment computing" can be disturbing if looked at from ... more The terms "cultural computing" and "entertainment computing" can be disturbing if looked at from the artists' point of view. Computing has always been part of the culture of the time, and this was especially true in the decades surrounding the birth of computing, when the structuralist paradigm was dominant in many areas of human endeavour. Perhaps what distinguishes, or should distinguish, "cultural" computing from other types of computing is its attitude: one of playfulness and light-hearted cleverness. This premise is discussed mainly from a musical point-of-view-examples from the computer music literature, including works by the author, are discussed in this context.
musical applications of probability distributions From mid 2004 until early 2005, I was involved ... more musical applications of probability distributions From mid 2004 until early 2005, I was involved in a project to compose works for a series of computercontrolled acoustic instruments, some of which are microtonal, built by Godfried Willem Raes and associates at the Logos Foundation in Gent, Belgium. However, I was in Wollongong. I composed for these works by long distance, using the internet, in a slow, non-real time manner. Further, I composed the music for these instruments using a series of over two dozen mathematical functions that I implemented for John Dunn's ArtWonk and SoftStep Windows algorithmic composing environments. The pieces then, are the product of two intercontinental collaborations, one with the software, another with the instruments. This paper briefly examines the instruments, the method of internet collaboration that occurred, the functions implemented in the software to compose the pieces, and the pieces themselves. It also looks in somewhat more depth at harmonic structures implemented in one of the pieces, and details of its composition.
In this chapter, the composer of algorithmic compositions discusses in detail the creation and ap... more In this chapter, the composer of algorithmic compositions discusses in detail the creation and application of a range of nondeterministic processes to his own music, video, and verbal composition. In particular, the chapter discusses the more intuitive use of these processes over the last decade or so, and its relation to increasing involvement with improvisation. After considering three particular works and the resources chosen for them (some of music, some of text and some of procedures or formulations with overpowering diversity), the chapter concludes with a discussion of the social context of a contemporary algorithmic musician, and its lack of direct social contact and of economic sustainability.
A reply is presented to James Koehne's article 'Avant garde and rear guard in contemporar... more A reply is presented to James Koehne's article 'Avant garde and rear guard in contemporary music' (Meanjin 3/1985) on the supposed decline of avant-garde music in contemporary Australian music in favour of tonality. It is observed that Koehne's critique is inadequate in its understanding of avant-garde music, the background to the use of tonality in contemporary music and the relationship of music with the audience.
Australian journal of music education, Oct 1, 1976
To cite this article: Craig, Dale A; Elliott, P; Burt, Warren and Farrant, Jean. Music: For the C... more To cite this article: Craig, Dale A; Elliott, P; Burt, Warren and Farrant, Jean. Music: For the Classroom [online]. Australian Journal of Music Education, No. 19, Oct 1976: 65-68. Availability: <http://search.informit.com.au/documentSummary;dn=378995617005808;res=IELHSS> ...
... Experimental music in Australia using live electronics Warren Burt ... A large and varied amo... more ... Experimental music in Australia using live electronics Warren Burt ... A large and varied amount of live-electronic experimental music is performed in Australia. ...
Continuum: Journal of Media & Cultural Studies, 1994
... Derek Kreckler's "White Pointer - You are listening to the sounds of humans observi... more ... Derek Kreckler's "White Pointer - You are listening to the sounds of humans observing fish at the New York Aquarium", installed at the Victorian Centre for Photography, was a work in which multiple small loudspeakers were suspended along a white wall. ...
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