Charles K. Neimog is a Brazilian composer and researcher. His compositions include pieces for solo, electroacoustic and sound installations. As a researcher, he is interested in exploring the relationship between human beings, technology, and art.
Moteto represents an experimental endeavor grounded in the Ph.D. investigations conducted by Ricardo Thomasi. Thomasi introduces intricate feedback structures in his research. In this composition, I engage with a similar concept, employing Partial Tracking and Score Representation. In this instance, a choir is employed to replicate the pitches derived from the Partial Tracking process.
Eco I is a experimental project based on the Ph.D. research of Ricardo Thomasi. He proposes complex structures of feedback (listen the piece on Youtube). In this piece, I am working with the same idea but using just Partial Tracking and Score Representation (no audio manipulation like Thomasi).
py4pd integrates the power of Python into the real-time environment of PureData. Besides providing means for score visualization, AI integration, audio analysis tools, SVG/drawing score handling, and various other functionalities, you can create PureData Objects using Python. If you use OpenMusic or BachLibrary, you will find some inspiration in it.
This communication will present a library capable of integrating OM-Sharp (OpenMusic too) and PureData. There are two goals: The first is to allow the processing of large amounts of data using the visual language (BRESSON et al., 2017) of OM-Sharp (OM) and the offline mode of PureData. The second is to bring PureData's audio possibilities to OM.
XXXII Congresso da Anppom
Natal-RN – October 2022
In this article, we will present how we can create, organize and understand pitches of Just Intonation using 1) the theory of sieves (XENAKIS, 1992) to filter the numbers of the harmonic series, 2) the decomposition by prime-numbers (EXARCHOS et al., 2011) applied to the numbers resulted from the sieve, 3) the concept of harmonic identities by Johnston (2006), and finally, 4) the Combinations-Product Set (CPS) by Erv Wilson (NARUSHIMA, 2018), that allows us to see the relationships between harmonic identities. When we understand that only prime numbers generate new harmonic identities in the interval sense (JOHNSTON, 2006), and odd-numbers create just a new pitch-class from staking prime numbers, we can apply the prime-decomposition for all the numbers of one sieve and claim that: all the non-prime numbers can be understood how intersections between distinct harmonics series. Based on Exarchos' (2011) analysis of sieves, this idea can help us find a way to use the sieves of Xenakis in the Just Intonation context. Complementary with this compositional idea, we will present two OpenMusic libraries developed to help the compositional process.
Proceedings of the Xenakis 22
Athens & Nafplio (Greece) – May 2022
The article explores FFT properties' impact on musical composition, emphasizing artist acknowledgment. Includes an OpenMusic library for visualizing and comprehending FFT process.
This text investigates how composers organize microtonal structures in electroacoustic works, exploring pitch classification concepts (microtonality, temperament, timbre) and their application. The analysis references studies by Jedrzejewski, Manning, Roads, Partch, and others, encouraging discussion and artistic production with digital technological support.
This article explores Just Intonation systems in the electronic environment, focusing on Erv Wilson's Combination-Product Sets theory. It merges harmonic theories (Partch, Johnston, Wilson) to modify timbres.
Este artigo explora as afinações de Harry Partch (1901-1974) e Ben Johnston (1926-), emergindo suas estruturas e investigando a música americana com bases matemáticas e acústicas pouco difundidas. Baseia-se nos escritos e partituras dos compositores, sendo parte das ações do Grupo de Pesquisa Núcleo Música Nova (CNPq/UNESPAR).