"The Right Measure of Opposites" (1998 and 2017 update), for computer-electronics with algorithmic software instruments, computer-interfaced piano (Yamaha DisklavierTM grand), sound spatialization system, originated in a twelve-part, concert-length work for piano written in 1998, called "Bell Solaris (Twelve Movements for Piano) Transformations of a Theme." The scored materials resulted from ideas about transformation and systems of evolution, which formed a model for what I refer to as propositional music. "Portable Gold and Philosophers’ Stones (Deviant Resonances)" (1972 & 2015), for computer-electronics with BCMI (Brain-Computer Music Interface), auxiliary instrument, and two active imaginative listening brainwave performers (volunteers), works with resonant coincidences detected among the physical brainwaves of performers applied to the circuits of custom-built, live electronic music devices, to grow spontaneous musical forms. "Deviant Resonances—Listening to Evolution" draws from selected examples of this composer’s works over several decades that explore how propositional models for musical worlds have energized a composer-performer’s practice in spontaneous music making, which often collapses distinctions among formal percepts and embraces a dynamic dimensionality in musical structures that may be fundamentally emergent and/or co-creative. Selected examples that emphasize interaction strategies in music are explored along with their implications for designs and definitions of instruments.
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Earlier Event: November 6In the Beginning V (The Story) performance by The Ensemble at CalArts
Later Event: January 16Rosenboom to Speak at UC Irvine—ICIT Program