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Composition Released on SEAMUS Album

I’m very happy to announce that my acousmatic composition Rice/Lightning has been released on SEAMUS’s 2015 Electroacoustic Miniatures album, Sonic Haiku. Please listen to it on Spotify, or download it from Amazon or iTunes.

Electroacoustic Seams and Artifice of Performance

In Eric Sheffield and Michael Gurevich’s paper “Distributed Mechanical Actuation of Percussion Instruments” [3] the writers comment on their approach to “seams” in an electroacoustic performance: moments in which the performer is required to switch on or off or otherwise modify the electroacoustic actuation of their instrument. In the Sheffield

Generating Chord Sequences From a Harmonic Stockpile According to Rules: An Update on Parsimony Tool 0.9.2 (beta)

A few weeks ago I wrote a blog post about a Python program I was writing to generate chains of chords with parsimonious voice leading from the set of all natural harmonics up to the 9th partial in the string section of the European orchestra. That program has grown dramatically.

A Case Study in Algorithmic Composition with Python

Audio for example of chords generated Python program. (Audio generated with ACToolbox.)[audio:http://www.lontanomusic.com/audio/python_piano_example.mp3|animation=yes|titles=Example of chords generated Python program. (Audio generated with ACToolbox.|artists=Daniel Miller] So, the other night I was trying to describe some of my recent experiments with algorithmic music composition to a friend over a beer, and I was doing

What Creative People Can Learn from John Cage

I recently finished David Revill’s The Roaring Silence, a biography of the American composer, writer, and print maker John Cage (not to be confused with Manfred Mann’s 1976 album). My Kindle edition of this book is dogeared with so many virtual notes, highlightings, and reminders to “tell so-and-so about this,”

Zombie Music

Yasuno Taro-san’s Zombie Music at Super Deluxe in Tokyo last week began with the artist setting up four very large, blue, compressed air tanks. His contraption looks more like a homemade aqua-lung than it does a sound art piece. Encased within the tangle of tubes and wires and robotic fingers,

Quarterly Report #2

The call to prayer as heard from near the summit of Mt. Merapi at around 5 am. This recording is contaminated with high levels of noise due to strong winds, but it still conveys some of the magic of the moment.[audio:http://www.lontanomusic.com/audio/field/azan_merapi.mp3|animation=yes|titles=The call to prayer as heard from near the summit

Luke Jaaniste in Newcastle

It’s almost the weekend, and I’m finishing up my final days in Japan before flying to Argentina on Sunday, so to celebrate I’ve decided to drop two posts on you in quick succession! In a minute I’m going to upload my second quarterly report that I wrote for the Watson

Ryōan-ji

I must dedicate this blog post to my teacher, Dr. Joanne Metcalf, who first introduced me to Ryoanji, a later composition by John Cage, and for me, one of his most beautiful works. The composition takes it name from a famous, dry rock garden in Kyoto that consists of only

Techno Udon (suspected Pastafarian cult ritual)

In Japan, noodles seem to go well with everything, even electronic dance music. That was the premise of a very unusual event I attended yesterday morning: Techno Udon! The event combined two very Japanese traditions: Udon noodles are a kind of thick, wheat-based noodle that you can find sold somewhere