Category Archives: Compositions

Control Click (2016, 2021)

Compositions, Research, ,

(update: 10/8/20221) The post has three videos of Control Click. The first video is an excerpt that demonstrates the aesthetics and how-tos of the piece.  The second video is a documentation of the 12-minute version installed in an outdoor. 

 



Control Click is a piece for a site with multiple computers, such as computer lab or a game room. With a simple installation of a freeware, a typical computer lab will turn into a multichannel audio-visual instrument playing algorithmically generated parts. The piece has two subsections: the first section is an ambient soundscape to be played while the audience gathers in the site. Once enough audience is gathered in the lab, the main section will start. The main section is about 12 minutes long, and it sounds like a dream sequence at an arcade.

 
Technical Needs:
 
 
1. A site with iMac computers. 
      • A computer lab is the easiest place to realize this piece, but any spaces that can host multiple computers would work
      • The current version works best with 8 to17 computers
      • 8 to16 computers are Performers. See instructions in Performer.scd file for hardware/software setup instructions.
      • 1 computer is Conductor. See instructions in Conductor-8Macs.scd or Conductor-16Macs.scd for hardware/software setup instructions.

2. SuperCollider

3. Control Click files for SuperCollider

4. Computer Setup and Maintenance

      • All iMacs should not go to sleep mode or turn on screen saver
      • All iMacs should use their internal speakers
      • All iMacs often play the sound at its maximum volume
      • The technician or the installation manager should have an admin access to adjust the network setup
      • The piece runs in automation mode once the technician setups and runs the Conductor and Performer files at the beginning of the installation

Questions?

    • If you need a version for a different number of computers, please feel free to contact me.
    • If you have any questions or comments, please feel free to contact me.

The third video is an update of an old sound installation It is now performable with an ensemble of drum machines. EMEWS is following the below instructions cued by a conductor.

[0] Computer part starts. Stay muted at BPM 146 

[1] Enter one by one (2-3 instruments, no BD)

[2] Gradually add delays or effects

[3] Stop Delay

[4] Mute

[5] Enter one by one

[6] Sudden Delay

[7] No Delay. Improvise freely. One person adds BD

[8] Mute 

[9] Tutti

[10] Gradually fade out/disintegrate

[11] Fade in at BPM 73. No BD

[12] End

Hallelujah – for vibraphone and computer

Compositions, Performances, , ,

 

Program Notes

This piece is a praise on things and events that are beyond my comprehension and control. Effect of subtle sonic changes on my mind, body, and soul is an example of such things.

Hardware Setup and Instruments

  1. One vibraphone with a working motor
  2. Soft mallets  and a bow
  3. A computer with SuperCollider : Setup the computer near the vibraphone so that you may see the screen. A Macintosh is preferred but not necessary. The SuperCollider application can be downloaded for free at www.audiosynth.com
  4. Hallelujah.scd file: The file can be downloaded from here
  5. One audio interface and one microphone : Connect a condenser microphone into the input 1 of the interface. Connect the interface to the computer.  Alternatively, you can use a USB microphone and no interface.
  6. A sound reinforcement system: connect the stereo output of the interface to the speaker(s). The speakers should be located in close distance to the vibraphone. Putting the speaker right behind the performer should work in small-medium sized venue.

Performance Notes

  1. Volume : The overall volume of the piece should not be loud. The computer part should be just loud enough to hear the pulsing between the vibraphone and the sine tone parts.
  2. Pedal : Pedal is always on. Muffle notes with the mallet on mm 51 (notated with ‘x’ ).
  3. Motor : Set to slow.  Motor is on from mm 53 to 79.
  4. Bowing : There are three notes in the vibraphone part that needs to be bowed (mm 65, 74, and 76).
  5. Pedal : Setup the vibraphone so that the pedal is always on.
  6. Count-In : Measure 1 starts after four beats of count in. Refer to the Visual Click Track window on the computer screen. The performer may interpret the timing of the notes.
  7. Notation of Computer Part : The computer part has three odd-shaped note heads. The rectangle represents a sine tone that changes its frequency when a vibraphone notes are played. The triangle represents a wobbly tone with rhythmic variation. And the diamond represents a note with rich overtones. All computer parts are long and gradual. You may start to notice the computer part about a measure or two after they are triggered at the notated measures. For example. the rectangular note in measure 5 will start to have a audible volume at around measure 6.

How to Run the Computer Part

  1. Make sure that your audio interface is set as the default input and output device for the computer.
  2. Open Haellelujah.scd file in SuperCollider
  3. Go to Menu and select Language->Evaluate File.
  4. Measure 1 starts after four beats count in.
  5. Press command+period (.) or select Language->Stop to stop the computer part
  6. Repeat steps 2-5 for rehearsal and practice.

 

 

Armor+2 – for clarinet and computer

Compositions, Performances, Research, ,


Required Software and Hardware

  1. Bb clarinet and Bass clarinet : A solo player will switch the instruments during the piece.
  2. Computer : a Macintosh with OS 10.9+ is preferred, but PC should also work.
  3. SuperCollider : this is a free software that runs the computer part.  Download it from HERE if SuperCollider is not installed already
  4. Armor+2.scd file : this is the computer part for the piece. If you don’t have it already, download it from the composer’s website (Here) or contact the composer at https://www.facebook.com/joowonmusic
  5. One Microphone: Close-mic the clarinet. A good condenser microphones is preferred.
  6. Audio Interface: The interface should have at least one microphone inputs and three outputs. The first two outputs send computer part. The third output sends a click track.
  7. Headphone: connect the click track output to the headphone for the performer.
  8. Speakers/PA : Connect the stereo output of the audio interface to the sound reinforcement system.

How to Use Armor+2.scd File

  1. Make sure that your audio interface is set as the default input and output device for the computer.
  2. Open Armor+2.scd in SuperCollider.
  3. Go to Menu-> Language-> Evaluate File.
  4. You will hear measure 1 in few seconds. Press command+period(.) or go to Menu-> Language-> Stop  to stop.
  5. Repeat steps 3-4 to restart.
  6. Do not let the computer go to sleep mode. It may cause a disconnection between the hardware and software.

Performance Instructions

  1. The electronic part should be as loud as the acoustic part. Adjust the gain and/or microphone position accordingly. Most of the computer parts are live-processed or algorithmic. The computer part processes the sound of the ensemble in realtime, and it will sound slightly different in each performance.  It is important to follow the tempo as accurately as possible to be in sync with the computer part.  The click track is not absolutely necessary, but it may assist the performance. The performer should be able to operate the computer part as the computer part requires runs automatically after the first measure.
  2. The click track starts at measure 1 without a count off. Place the bass clarinet near the performance space for a quick switch at measure 68.
  3. The following boxed words notated in the computer part indicate an addition or variation of the computer part: AM, AM2, and FM add harmonic elements. Ticks are short percussive sounds. Stutter imitates a short segment of the performer’s sound. Reverb simulates a room sound. Pad is a long synthesized tone, which can have a smooth or sharp beginning.
  4. There are some extra files in the download site. If the performer wants to practice the piece by sections, use the files in ForPractice folder. Armor+2-ClickOnLeft.scd has the click track on the left channel. If the performer does not want to operate SuperCollider part during the practice, he/she can use the recorded electronics part in ForTapeVersion folder.

Mid-Missouri Composers Symposium at Osage Arts Community

Compositions, Influences, , ,

I was attending Mid-MO Composers Symposium in mid July. This week-long event was initiated and directed by composer Nolan Stolz, and was hosted by the Osage Arts Community in Belle, MO.  Total of eleven composers from all over the country gathered at the OAC, and we discussed various topics and inspired each other.  In fact, I don’t think I ever had this much fun talking about music since the college years.

IMG_0013

Here are some topics we have discussed in the formal discussion panel:

  1. Electronic music
  2. Perceiving musical form
  3. Timbral/behavioral counterpoint
  4. Intertextuality in instrumental composition
  5. Teaching students in the interdisciplinary arts
  6. Perceiving musical form
  7. Outreach and funding
Here are some planned (and a few unplanned) activities
  1. Hang out at the river
  2. Listening and discussion of Corigliano’s score for Altered States
  3. Attend Alarm Will Sound’s open rehearsal at Mizzou International Composers Festival
  4. Attend county fair and demolition derby
  5. Watch the movie Untitled
  6. Tour of a restored Missouri prairie
  7. Karaoke night
  8. “Guess the composer of this program notes” game
When there were no activities, each composer worked at his/her work in a private and quite space. The center has many buildings in the town, and is transforming the town into an artist heaven. All accommodation and foods are provided by the OAC for free.  In short, I highly recommend the Composers Symposium and residency at the OAC. I know I will come back when I need a time and space for my projects.

Lastly, Belle is located in a beautiful rural area. I was happy to hear many inspiring sounds. The below is a recording of a chicken coop owned by OAC. You can almost hear checkins pecking my leg and the recorder.

IMG_0014

 

Snake Extension – What I have learned in the Spring semester

Compositions, Research, Teaching, , , , ,

I taught Digital Signal Processing Theory class in the last Spring. I have never studied this hard to teach a course. As a result, I learned (or relearned) about DSP quite a bit. More specifically, I learned to appreciate elegance of “classic” techniques, such as AM, FM, sample-and-hold, and delays. I think I can explain them in digital terms. Most importantly, I learned that digital signal processing is all about (good) math.

The best way to wrap up the semester and summarize what I have learned is to make a piece using the new techniques I have learned.

1. To start the piece, I begin with a sinusoid generated with very slow Low Frequency Oscillator (LFO) on its pitch. The LFO’s shape is made with a  wave shaping function using polynomials. The result is an unusual curve pitch pattern.

2. On this polynomial curve, I add sample and hold. The smooth line gets “steps” in terms of pitch. I change the S&H rate to create different rhythms

3. As the piece progresses, I would like to have some frequency modulation gradually fading in.

4. This should sound fun if I have more of them. Here is an example of all the techniques with four sinusoids. The rate of S&H, the shape of polynomial curve, and the modulation rate of FM are randomly selected for each line.

The resulting sound sounded like a good accompaniment for a noisy electronic piece. So I played a no-input mixer and custom synthesizer over the polynomial pads. I also continued the piece with algorithmically drum part that I have developed for Snake and Ox track in my latest album (more about this track later).

Here’s the final result, Snake Extension. I think I’ll add this to my solo repertoire.