Arrangements of the Goldberg Variations
Degazio has arranged a number of pieces from the Goldberg Variations for other instruments. Following are several examples, performed on electronic wind instrument:
Bruno Degazio (born March 31, 1958) is a composer, researcher and film sound designer based in Ontario, Canada, where he is also a professor at Sheridan College. [1] Degazio is an expert on computer music.
Degazio received bachelor's and master's degrees in music from the University of Toronto, where he studied music composition with Gustav Ciamaga, as well as Schenkerian analysis, and sound synthesis. He helped establish a contemporary music ensemble, and finished his studies there in 1981. [2]
Degazio is notable for, among other things, implementing computer music algorithms that were devised by the music theorist Joseph Schillinger, [3] and for designing systems to reverse engineer music production from theories about music theory. [4] He has also studied musical aspects of fractal geometry, for automated composition of music. [5] Degazio was one of the first people in the world to apply fractal techniques to algorithmic composition with some degree of depth. [2]
Degazio is proficient with wind controllers, also known as wind synthesizers. His arrangements for this instrument include works by Johann Sebastian Bach and others. Degazio's work on films led to a Genie award nomination for the film Bye Bye Blues , [6] plus prizes from the Baltimore Film Festival and the Toronto Advertising Awards. [2] He also has developed sound tracks for two 3-D IMAX films at the 1990 World's Fair in Osaka, Japan.
Degazio has arranged a number of pieces from the Goldberg Variations for other instruments. Following are several examples, performed on electronic wind instrument:
Aside from the Goldberg Variations, Degazio has often transcribed other music of J. S. Bach. These employ an electronic wind instrument and/or Yamaha VL1 synthesizer.
Computer music is the application of computing technology in music composition, to help human composers create new music or to have computers independently create music, such as with algorithmic composition programs. It includes the theory and application of new and existing computer software technologies and basic aspects of music, such as sound synthesis, digital signal processing, sound design, sonic diffusion, acoustics, electrical engineering and psychoacoustics. The field of computer music can trace its roots back to the origins of electronic music, and the first experiments and innovations with electronic instruments at the turn of the 20th century.
A digital synthesizer is a synthesizer that uses digital signal processing (DSP) techniques to make musical sounds. This in contrast to older analog synthesizers, which produce music using analog electronics, and samplers, which play back digital recordings of acoustic, electric, or electronic instruments. Some digital synthesizers emulate analog synthesizers; others include sampling capability in addition to digital synthesis.
Electronic music is a genre of music that employs electronic musical instruments, digital instruments, or circuitry-based music technology in its creation. It includes both music made using electronic and electromechanical means. Pure electronic instruments depended entirely on circuitry-based sound generation, for instance using devices such as an electronic oscillator, theremin, or synthesizer. Electromechanical instruments can have mechanical parts such as strings, hammers, and electric elements including magnetic pickups, power amplifiers and loudspeakers. Such electromechanical devices include the telharmonium, Hammond organ, electric piano and the electric guitar.
An electronic musical instrument or electrophone is a musical instrument that produces sound using electronic circuitry. Such an instrument sounds by outputting an electrical, electronic or digital audio signal that ultimately is plugged into a power amplifier which drives a loudspeaker, creating the sound heard by the performer and listener.
MIDI is a technical standard that describes a communications protocol, digital interface, and electrical connectors that connect a wide variety of electronic musical instruments, computers, and related audio devices for playing, editing, and recording music. The specification originates in the paper Universal Synthesizer Interface published by Dave Smith and Chet Wood of Sequential Circuits at the 1981 Audio Engineering Society conference in New York City.
Digital music technology encompasses digital instruments, computers, electronic effects units, software, or digital audio equipment by a performer, composer, sound engineer, DJ, or record producer to produce, perform or record music. The term refers to electronic devices, instruments, computer hardware, and software used in performance, playback, recording, composition, mixing, analysis, and editing of music.
A music sequencer is a device or application software that can record, edit, or play back music, by handling note and performance information in several forms, typically CV/Gate, MIDI, or Open Sound Control (OSC), and possibly audio and automation data for digital audio workstations (DAWs) and plug-ins.
Algorithmic composition is the technique of using algorithms to create music.
Karlheinz Essl is an Austrian composer, performer, sound artist, improviser, and composition teacher.
A MIDI controller is any hardware or software that generates and transmits Musical Instrument Digital Interface (MIDI) data to MIDI-enabled devices, typically to trigger sounds and control parameters of an electronic music performance. They most often use a musical keyboard to send data about the pitch of notes to play, although a MIDI controller may trigger lighting and other effects. A wind controller has a sensor that converts breath pressure to volume information and lip pressure to control pitch. Controllers for percussion and stringed instruments exist, as well as specialized and experimental devices. Some MIDI controllers are used in association with specific digital audio workstation software. The original MIDI specification has been extended to include a greater range of control features.
A sound module is an electronic musical instrument without a human-playable interface such as a piano-style musical keyboard. Sound modules have to be operated using an externally connected device, which is often a MIDI controller, of which the most common type is the musical keyboard. Another common way of controlling a sound module is through a sequencer, which is computer hardware or software designed to record and playback control information for sound-generating hardware. Connections between sound modules, controllers, and sequencers are generally made with MIDI, which is a standardized interface designed for this purpose.
Monotimbral is usually used in reference to electronic synthesizers which can produce a single timbre at a given pitch when pressing one key or multiple keys.
EWI is a type of wind controller, an electronic musical instrument invented by Nyle Steiner. The EWI has been used by many artists across many different genres.
A wind controller, sometimes referred to as a wind synthesizer, is an electronic wind instrument. It is usually a MIDI controller associated with one or more music synthesizers. Wind controllers are most commonly played and fingered like a woodwind instrument, usually the saxophone, with the next most common being brass fingering, particularly the trumpet. Models have been produced that play and finger like other acoustic instruments such as the recorder or the tin whistle. The most common form of wind controller uses electronic sensors to convert fingering, breath pressure, bite pressure, finger pressure, and other gesture or action information into control signals that affect musical sounds. The control signals or MIDI messages generated by the wind controller are used to control internal or external devices such as analog synthesizers or MIDI-compatible synthesizers, synth modules, softsynths, sequencers, or even non-instruments such as lighting systems.
Algorithmic art or algorithm art is art, mostly visual art, in which the design is generated by an algorithm. Algorithmic artists are sometimes called algorists.
Orchestral enhancement is the technique of using orchestration techniques, architectural modifications, or electronic technologies to modify the sound, complexity, or color of a musical theatre, ballet or opera pit orchestra. Orchestral enhancements are used both to create new sounds and to add capabilities to existing orchestral ensembles.
Gary Lee Nelson is a composer and media artist who taught at Oberlin College in the TIMARA department. He specializes in algorithmic composition, real-time interactive sound and video along with digital film making.
A synthesizer is an electronic musical instrument that generates audio signals. Synthesizers typically create sounds by generating waveforms through methods including subtractive synthesis, additive synthesis and frequency modulation synthesis. These sounds may be altered by components such as filters, which cut or boost frequencies; envelopes, which control articulation, or how notes begin and end; and low-frequency oscillators, which modulate parameters such as pitch, volume, or filter characteristics affecting timbre. Synthesizers are typically played with keyboards or controlled by sequencers, software or other instruments, and may be synchronized to other equipment via MIDI.
Gareth Loy is an American author, composer, musician and mathematician. Loy is the author of the two volume series on the intersection of music and mathematics titled Musimathics. Loy was an early practitioner of music synthesis at Stanford, and wrote the first software compiler for the Systems Concepts Digital Synthesizer. More recently, Loy has published the freeware music programming language Musimat, designed specifically for subjects covered in Musimathics, available as a free download. Although Musimathics was first published in 2006 and 2007, the series continues to evolve with updates by the author and publishers. The texts are being used in numerous math and music classes at both the graduate and undergraduate level, with more current reviews noting that the originally targeted academic distribution is now reaching a much wider audience. Music synthesis pioneer Max Mathews stated that Loy's books are a "guided tour-de-force of the mathematics of physics and music... Loy has always been a brilliantly clear writer. In Musimathics, he is also an encyclopedic writer. He covers everything needed to understand existing music and musical instruments, or to create new music or new instruments... Loy's book and John R. Pierce's famous The Science of Musical Sound belong on everyone's bookshelf, and the rest of the shelf can be empty." John Chowning states, in regard to Nekyia and the Samson Box, "After completing the software, Loy composed Nekyia, a beautiful and powerful composition in four channels that fully exploited the capabilities of the Samson Box. As an integral part of the community, Loy has paid back many times over all that he learned, by conceiving the (Samson) system with maximal generality such that it could be used for research projects in psychoacoustics as well as for hundreds of compositions by a host of composers having diverse compositional strategies."
Gregory Marcellus Schiemer is an Australian electronic music composer, instrument builder, and teacher. His artistic preoccupations include creative engagement with new technology, music created for non-expert performance and intercultural-interfaith dialogue.
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