David Worrall | |
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 Worrall in 2016 | |
| Born | David Robert Worrall 25 October 1954 Newcastle, New South Wales, Australia |
| Occupation(s) | Composer, polymedia artist, information sonifier, academic |
David Worrall (born 25 October 1954 in Newcastle NSW) is an Australian composer and sound artist working a range of genres, including data sonification, sound sculpture and immersive polymedia (a term he coined in 1986) as well as traditional instrumental music composition. [1] [2]
Worrall performs and exhibits internationally. He studied musical composition at The University of Sydney with Peter Sculthorpe, Ross Edwards, where he also studied mathematics and Western philosophy, and at The University of Adelaide with Richard Meale and Tristram Cary.
Worrall's creative practice encompasses a number of endeavours: instrumental and electroacoustic composition, sound poetry and sound installations including those that utilise PIPES (Portable Immersive Polymedia Event Spaces). [3] sometimes referred to as Portable Event Theatres (PETs). [4] He is a programmer in several computer languages and has developed software for music composition, text transformation and sonification. [5] His PhD dissertation was on the development of a software framework for the sonification of information in large or high-frequency multivariate data sets, such as those from securities trading engines. [6]
Worrall was appointed to the Faculty of Music at the University of Melbourne in 1979 to teach musical composition and undertake research in computer music. In addition to composition, orchestration, twentieth-century techniques and free improvisation, in 1981, before the advent of the personal computer, he designed and taught the first undergraduate course in computer music in Australia using a mainframe computer, and MusicC (a development of Dick Moore's CMusic, the most related extant child of Max Mathews' Music V, Csound ) and Gary Lee Nelson's Music Programming Library (written in APL). His music from this period includes the Albert H. Maggs Award commission Images for Two Pianos and the Seymour Group commissioned Glass Games for ensemble and computer–generated tape – the first Australian work in this format. Other notable works from this period include Mixtures and re-collections and ...with fish scales scattered....
In 1986 he was appointed director of the Electronic Music Studios at the Canberra School of Music. He established and became the foundation head of the Australian Centre for the Arts and Technology (ACAT), [7] [8] at the Australian National University in 1989, a position he held for over a decade. During that time, ACAT offered the first Australian postgraduate degrees in multimedia: considered a sub-discipline of the Electronic Arts, along with electroacoustic music and computer animation. [9] [10] Worrall's output from this period is dominated by electroacoustic (e.g. Harmonie du Soir), polymedia (e.g. Cords), computer animation soundtracks (e.g. En Passant Marcel Duchamp) as well as his continued interest in combining acoustic instruments with electroacoustics (e.g. Air).
Worrall has been a regional editor for Organised Sound (Cambridge University Press) since 1996. From 2000 to 2012 he worked as an independent investment educator, [11] academic, and freelance experimental composer (e.g. The Twins) and researcher with a growing interest in the human voice, both acoustic and synthetic (e.g. algorithmic poems such as A doing resounds and the extended text-to-speech work (e.g. I am on the net through an interface different from the one which you use when you do, a homage to Alvin Lucier,) as well as the continued development of PIPES works such as the large-scale collaborative Alien Garden.
He was a senior research fellow (2013–2017) in sonification in the Emerging Audio Research Group at Fraunhofer Society (the International Audio Laboratories of Fraunhofer-Institut für Integrierte Schaltungen IIS) [12] in Erlangen, Germany, undertaking research in the application of sound in the diagnosis of sleep apnoea [13] and the sonification of large networks. [14] He is currently a professor (and former chair) in the Audio Arts and Acoustics Department at Columbia College Chicago [15] and an adjunct senior research fellow in the School of Music, the Australian National University. [16]
His book: Sonification design: From data to intelligible soundfields is published by Springer in their Human–Computer Interaction Series. [17]
Worrall has won various composition and research awards and has held artist-in-residence and visiting fellowship positions in universities in Australia, France, Spain, the US and in the UK, where most notably he was Leverhulme Fellow in the Music Department at the University of York in 1996. He was a founding member of the Music Council of Australia, now Music Australia Archived 1 September 2022 at the Wayback Machine , which made him an Honorary Life Member in 2009, the Electronic Music Foundation and has served on a number of organisational boards, including the Australia Council's Music and Innovative Projects (later Mixed Media) Boards, the Australian Music Centre, where he is a represented artist, [18] and as president in 1998/1999 of the Australasian Computer Music Association. [19] He has been and a board member of the International Community for Auditory Display (ICAD) since 2010 and their elected President 2016–2019. [20]
Acoustical engineering is the branch of engineering dealing with sound and vibration. It includes the application of acoustics, the science of sound and vibration, in technology. Acoustical engineers are typically concerned with the design, analysis and control of sound.
Sound design is the art and practice of creating soundtracks for a variety of needs. It involves specifying, acquiring or creating auditory elements using audio production techniques and tools. It is employed in a variety of disciplines including filmmaking, television production, video game development, theatre, sound recording and reproduction, live performance, sound art, post-production, radio, new media and musical instrument development. Sound design commonly involves performing and editing of previously composed or recorded audio, such as sound effects and dialogue for the purposes of the medium, but it can also involve creating sounds from scratch through synthesizers. A sound designer is one who practices sound design.
Sonification is the use of non-speech audio to convey information or perceptualize data. Auditory perception has advantages in temporal, spatial, amplitude, and frequency resolution that open possibilities as an alternative or complement to visualization techniques.
Curtis Roads is an American composer, author and computer programmer. He composes electronic and electroacoustic music, specializing in granular and pulsar synthesis.
Eduardo Reck Miranda is a Brazilian composer of chamber and electroacoustic pieces but is most notable in the United Kingdom for his scientific research into computer music, particularly in the field of human-machine interfaces where brain waves will replace keyboards and voice commands to permit the disabled to express themselves musically.
Matthew Burtner is a contemporary American composer. His most recent work at the University of Virginia includes MICE, the mobile interactive computer ensemble.
Simon Emmerson is an electroacoustic music composer working mostly with live electronics. He was born in Wolverhampton, UK, on 15 September 1950.
The Institute of Electronic Music and Acoustics (IEM) is a multidisciplinary research center within the University of Music and Performing Arts, Graz, (Austria).
An audio engineer helps to produce a recording or a live performance, balancing and adjusting sound sources using equalization, dynamics processing and audio effects, mixing, reproduction, and reinforcement of sound. Audio engineers work on the "technical aspect of recording—the placing of microphones, pre-amp knobs, the setting of levels. The physical recording of any project is done by an engineer…"
A networked music performance or network musical performance is a real-time interaction over a computer network that enables musicians in different locations to perform as if they were in the same room. These interactions can include performances, rehearsals, improvisation or jamming sessions, and situations for learning such as master classes. Participants may be connected by "high fidelity multichannel audio and video links" as well as MIDI data connections and specialized collaborative software tools. While not intended to be a replacement for traditional live stage performance, networked music performance supports musical interaction when co-presence is not possible and allows for novel forms of music expression. Remote audience members and possibly a conductor may also participate.
Sonic interaction design is the study and exploitation of sound as one of the principal channels conveying information, meaning, and aesthetic/emotional qualities in interactive contexts. Sonic interaction design is at the intersection of interaction design and sound and music computing. If interaction design is about designing objects people interact with, and such interactions are facilitated by computational means, in sonic interaction design, sound is mediating interaction either as a display of processes or as an input medium.
Kristi Allik is a Canadian music educator and composer.
Sound and music computing (SMC) is a research field that studies the whole sound and music communication chain from a multidisciplinary point of view. By combining scientific, technological and artistic methodologies it aims at understanding, modeling and generating sound and music through computational approaches.
Marc Battier is a French composer and musicologist.
Kurt Stallmann is an American composer who lives and works in Houston, Texas.
Thomas H. Wells is an American composer, pianist, organist, and arts-organization administrator.
The International Community for Auditory Display (ICAD), founded in 1992, provides an annual conference for research in auditory display, the use of sound to display information. Research and implementation of sonification, audification, earcons and speech synthesis are central interests of the ICAD.
Audification is an auditory display technique for representing a sequence of data values as sound. By definition, it is described as a "direct translation of a data waveform to the audible domain." Audification interprets a data sequence and usually a time series, as an audio waveform where input data are mapped to sound pressure levels. Various signal processing techniques are used to assess data features. The technique allows the listener to hear periodic components as frequencies. Audification typically requires large data sets with periodic components.
MPEG-H 3D Audio, specified as ISO/IEC 23008-3, is an audio coding standard developed by the ISO/IEC Moving Picture Experts Group (MPEG) to support coding audio as audio channels, audio objects, or higher order ambisonics (HOA). MPEG-H 3D Audio can support up to 64 loudspeaker channels and 128 codec core channels.
Gregory Paul Kramer, is an American composer, researcher, inventor, meditation teacher and author. In 1975 he co-founded Electronic Musicmobile, a pioneer synthesizer ensemble later renamed Electronic Art Ensemble, in which Kramer was a musician and composer. His pioneering work extended to developing synthesizer and related equipment. Kramer also co-founded the not-for-profit arts organization Harvestworks in New York City. He is recognized as the founding figure of the intensely cross-disciplinary field of data sonification. Since 1980, Kramer teaches Buddhist meditation. He is credited as developer of Insight Dialogue, an interpersonal meditation practice. Kramer is the author of several books in diverse fields, as well as (co-)author of scientific papers in the field of data sonification.
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