Composition and Sonic Arts Research
Dr Ajay Kapur
Dr Ajay Kapur defines himself as a "Musical Scientist":
"The 'Scientist' in me develops experiments in computer science, electrical engineering and digital signal processing, and their use artistic practices. The 'Musician' in me gathers the current technology from my 'laboratory' into modules that can be used in the concert hall, writing modern music while blending traditional techniques."
Digitizing North Indian Music: Preservation and Extension using Multimodal Sensor Systems, Machine Learning and Robotics
VDM Verlag Dr. Muller, Germany, 2008. ISBN-13: 978-3639060973.
“The Machine Orchestra: An Ensemble of Human Laptop Performers and Robotic Musical Instruments”
with M Darling, D Diakopoulos, J Murphy, J Hochenbaum, O Vallis, and C. Bahn. The Computer Music Journal, Vol. 35 issue 4, November 2011.
“Multimodal Techniques for Human/Robot Interaction"
in Musical Robots and Interactive Multimodal Systems, Jorge Solis & Kia Ng (eds). Springer: November 2011.
Dr Dugal McKinnon
Dr Dugal McKinnnon's research uses sound as a platform to explore the meshing of electronic music, instrumental/vocal composition, and fine art. This interdisciplinarity extends to research into the theory and aesthetics of sound-based arts, including music, often with a strong sociopolitical and ecological dimension.
Nowdrifts (2012), 14:20
Bass clarinet and multichannel audio. Premiered by Richard Haynes (AUS) at Kings Place, London. This work draws the bass clarinet out into a multichannel sound environment, utilising materials from the clarinet as models for abstract sounds combined as an immersive soundscape into which the soloist is finely integrated. This creates a non-concerto effect, absorbing the instrumentalist into the surrounding electronic texture.
Sound-based installation for recombinant audio, metronome, tuning fork. Adam Art Gallery, 24 Jan to 15 April 2012. The installation sonifies the semantic and musical dimensions of the cadence.
Arcades (with David Prior), Who’s Most Lost? (2011), 50:40
A critically celebrated album of art-pop songs, released by Rattle Records (RAT-DO26)
Michael Norris's primary research area is instrumental composition, from solo instrument to full orchestra. Related research areas include the development of biological models in the structural organisation of works, critical and analytical writing on New Zealand music, the development of post-tonal chromatic theories, and concepts in live electronics, including the creation of a suite of spectral processing software.
Sgraffito for chamber orchestra (for Donaueschingen).
Capricci Sussurati for solo saxophone.
A suite of real-time digital spectral processes.
Prof John Psathas
Prof John Psathas's research focus has been collaborative, combining multiple musical traditions. New works combine classical, jazz, rock, artists from non-Western musical traditions, as well as feature film scores, dance scores, works involving electronica, and new music technologies (such as ebook scoring).
In The South (composition) 2011 – original symphonic score for eBook
22 Minutes, Written for the New Zealand Symphony Orchestra, Tablas, Sitar, Auckland, Booktrack, 56 pages
Prof Psathas developed an approach to composing for multi-speed listening scenarios and created a continuous score which tracks the emotion, psychology, and environment of the story, in time with (variable) reading speeds. The organic score was convincing, and bonded with the narrative, regardless of the expansion and contraction of time. This approach has been adopted as a template for future Booktrack projects. Solutions were found for continuity and progression in melody, rhythm, tempo, and large-scale tonality. Prof Psathas selected and analyzed six ragas as impetus for generating my original score. Composed for Salman Rushdie's In The South, this work was a collaboration with the author. This is a new musical genre. This area continues to grow with far reaching implications for music production and consumption. Recorded with the New Zealand Symphony Orchestra, In the South was launched worldwide through multiple media in late 2011.
Good for Nothing (composition) 2010 – feature film score
80 minutes of film-score for orchestra, guitars, banjo, accordion, harmonica, solo violin, dulcimer, & percussion. Prof Psathas was involved researching the Western genre, and working closely with solo musicians developing unique performances, as well as creating a fully notated score for the NZSO. The task was to create a score that matched the world of the film. The choice was made to keep the score fully acoustic and, wherever possible, to use playing techniques that had a quality of 'grit' in the sound. Prof Psathas also produced, edited and mixed the recorded score.
For more information see also Good for Nothing on the IMDb website. [External link - opens in a new window]
Medicine Woman (composition) 2012 – feature film score
Film-score for Taonga Puoro, piano, electronica, and strings. Worked closely with NZ premiere practitioner of Taonga Puoro, Richard Nunns. Due for release in 2013.
For more information see also Medicine Woman on the IMDb website. [External link - opens in a new window]