I wrote the following definition and commentary because my view of art sometimes raises objections—as should any strong view of something so intangible—most recently in my teaching at…
The indefatigable Diana Ferreira and Nuno Aroso have started a new podcast highlighting contemporary composers. They’ve just released episode 6 entitled foreign (being), featuring yours truly. The invitation was…
Back in the early 90s I experimented with extremely primitive translations of various data sets into sound. The most basic translation of all is taking a computer file…
On March 23rd 2022 my voir dans le secret was premiered at the Biennale de Lyon with musicians from the Cairn Ensemble and Totem Électrique. It was commissioned with the…
On February 18th 2022, in the stunning Red Dot Design Museum in Essen, my new piece for 41 consort tenor recorders and tablets was premiered in a concert…
In 2021 I finally finished the mix and master of a 40-minute immersive audio-visual project that was on the go for quite a while. Details below. The first…
On September 25th 2021, Susanne Achilles and I again performed Jean-Claude Risset’s Duet for One Pianist. This was a recapitulation of the 2019 concert at the Philharmonie Essen…
On November 13th 2021 I gave an impulse lecture to stimulate a discussion we hosted as part of the symposium 50 years of electronic music and audiovisuals at the…
From November 11th-13th 2021 we hosted a symposium to celebrate 50 years of electronic music and audiovisuals at the folkwang university of the arts. With international guests presenting their music…
On January 10th 2022 Michael Pattmann premiered ma bell, a reworking of ma bel. For one beautiful bell and four percussion groups consisting of six objects each of…
The premiere of my seven rotations of seven for three (triple doubles) for three violas and electronics was premiered at the NOW! Festival on October 30th 2021. The…
Kla4 is a piece by Michael Edwards, Thomas Neuhaus, Dirk Reith, and GĂĽnter Steinke for four self-playing pianos, e.g. Yamaha Disklaviers, as in the video below. Kla4 was…
On June 11th 2021 at the RĂĽBĂĽhne, Essen, Ensemble S201 gave the premiere of the sixth installment of my hyperboles series before repeating the concert on August 12th…
Over the spring and summer of 2020 my students and I worked on a four-channel soundscapes installation that created a continuously remixed and varying aural collage of sound…
Over the spring and summer of 2020, my students and I worked on new pieces for the MIDI-controllable Kuhn Organ of the Philharmonie Essen. Some of these were…
On October 29th 2019 I presented one of the most interesting concerts I’ve ever organised. Along with my colleagues at the NOW! Festival / Philharmonie Essen / Folkwang…
On November 5th 2020 I discussed composition, improvisation, and performance with Salim Javaid in preparation for a podcast release for the ON – Neue Musik Köln Station. …
On September 21st 2020 I was a guest of Johannes Zink and Frank Hilberg at WDR Cologne. Johannes and I discussed the concert I organised as part of…
On September 21st 2020 I was a guest of Johannes Zink and Frank Hilberg at WDR Cologne. Johannes and I spoke about the Institute for Computer Music and…
vivos as a noun means alive in Spanish and Portuguese; living in Latin; but also tips its hat at the 1980 computer music landmark Mortuos Plango, Vivos…
The following questions were put to me by Prof. Barbara Maurer in preparation for a portrait in her Masters in New Music seminar. BM: Was ist Musik fĂĽr…
Last October, Georg WaĂźmuth contacted me out of the blue to arrange an interview session in preparation for a portait broadcast about my career and music as part…
The title gold im bach arose from a discussion I had with Karin Schistek during a trip in summer 2019 to Camogli, near Genoa, Italy. I had…
ma bel, my new piece for Jean-Francois Laporte’s compressed-air instrument, the babel table, was premiered in Canada at the Conservatoire de Musique de MontrĂ©al on October 4th 2019….
days with glass edges (chasing the butterflies in my wallpaper), for fifteen-piece ensemble and 4-channel electronics, was premiered at the NOW! Festival by the Folkwang Modern ensemble…
No, the image above is not my latest Max patch, though I can think of a few people who might recognise something there. Not Max: Lisp. If you’ve…
In May 2018 I was in MĂĽnster with edimpro colleagues Dimitris Papageorgiou and Karin Schistek to give improvisation workshops to students at the Hochschule fĂĽr Musik. Mieko Kanno…
On July 12th 2018, Portuguese saxophonist Henrique Portovedo premiered HOTPO, my new piece for alto saxophone, ensemble, and electronics. The performance was part of the World Saxophone Congress…
elsewhere by Edwards/Hayes/Michalakos/Parker/Svoboda Back in May 2012, while Mike Svobodo was visiting Edinburgh to do some workshops with University of Edinburgh postgraduate students, some locals, including myself, did…
forest by edimpro alison by edimpro heated by edimpro Just before leaving the UK in September 2017, amongst packing boxes and the fifteen other circles of hell that…
This is the full and original text of my article published on February 15th 2018 in Times Higher Education. In January of 2017 a colleague and I travelled…
Back in 2011, after several years of using either CMN or Sibelius (the latter via MIDI file import), I was considering alternative score output formats for my algorithmic composition software slippery…
(and no, it’s not just Brexit) Last year I started playing competitive squash in the East of Scotland League. After the matches, meals and drinks are provided by…
Henrique Portovedo and I have just finished recording my piece in limine, for two soprano saxophones and computer, written 2003-2005. We’ve now got to work on the mix and…
First of all I should say that there are no current plans to port slippery chicken. But: A humourously intended (though sarcastic: you know who you are!) post on my…
Quasar Quartet, Le Gesu, Montreal, Canada, 19/1/17: It was disappointingly warm in Montreal. I’d promised Martin temperatures of -20C and below (it reached -33C on my last trip)…
Below is an interview I initiated online with the artists who made the above video to my algorithmic composition for rei as a doe. CI = Chante Inglis (animation)…
I’ve just returned from teaching algorithmic composition for a week at the Conservatorio Statale di Musica “Niccolò Paganini” in Genova, Italy. It was a pleasure to meet and work with Professor…
I’m just coming to the end of my second week of teaching in the Institute for Computer Music and Electronic Media (ICEM) at the Folkwang University of the Arts in Essen,…
Those present at the St Giles Cathedral, Edinburgh performance by Mieko Kanno of my hyperboles 2 (“until the cherries burst in the orchard”) on 20/5/16 were very patient. I…
Whilst searching online forY/Our Music, Salee Art Every’s excellent film about Thai music, I stumbled across a complete recording of the post-concert question and answer session we did at Museum…
The week of March 28th 2016 saw me giving saxophone and electronics masterclasses with Gianpaolo Antongirolami at the Conservatorio di Musica “Benedetto Marcello” in Venice. We were guests of…
It was a pleasure to be a guest and one of the featured composers of the AVEIRO_SĂŤNTESE 2016 festival and the Dias De MĂşsica ElectroacĂşstica in Portugal earlier this month…
Anyone who has input a piano score into notation software knows that it’s not so easy as, say, creating a woodwind part. First of all there are chords,…
Ellen Fallowfield and I outed the latest version of my hyperboles project last weekend at the Crosscurrents Festival in Birmingham. After two days of intense rehearsals and development it…
slippery chicken’s automatic chord sequencing algorithm creates an ordering for a set-palette’s sets (or chords) based on user-given dissonance and spectral centroid envelopes. The terms set and chord…
Back to part 1 auto-sequence examples and analysis The following examples process a set-palette created from a harmonic reduction by Emilios Cambouropoulos of Messiaen’s Quartet for the End…
jitterbug is a four-movement four-channel work/album for computer, with or without improvising musicians. It is documented more generally but in detail in another blog post. Here I’m going…
(aka four views of a rhythmic-structural procedure based on iterated proportions of 6:3:5:4) jitterbug is a four-movement four-channel work/album for computer, with or without improvising musicians….
Composed in 2010 but not released until some final polish was applied in 2015, Music for Parallel Consumption is a 4-channel digital composition made for delivery and playback via a custom…