We are pleased to announce
This is a “tape piece”. It uses 11 lengths of audio tape that are in the proportion of 1.059463:1 (or) which is the proportion used in Equal Temperament tuning of adjacent semitones.
I cut lengths of tape that were recordings of white noise, and
rearranged them into an order or “set” that had interesting mathematical
and musical properties, and interleaved these with recordings of
silence, (blank tape), that were a kind of “inverse” of that duration
set. This scheme was used to create the formal design of this short
The other sound used is a cluster of chromatic sine tones transposed to
different frequency ranges. I made a loop of the noise tape, which is
one of the main sounds in the piece. The piece begins with this loop,
which is played at faster and faster speeds to form the first section.
I made a number of tracks of these sounds, using effects such as
flanging, chorusing and reverberation, and mixed them while preserving
the temporal structure outlined above.
This piece contrasts sounds generated by an analogue synthesiser (Serge
Tcherepnin modular synth) with a digital percussion algorithm.
Passing Bright Mirror (1991)
Using various programs I had written, I generated seven scores of MIDI
data which I synthesised using a mixture of pitched and percussion
sounds. I mixed these sections in different combinations and hand
edited the result. Originally this piece was about 45 minutes long. I
have cut it down and re-edited it several times for different events,
including to accompany live performance painting in Bologna, Italy.
Birdbrain (extract from Think Out Loud) (1990)
This piece is made from samples of birdcalls I recorded at my home in
Healesville, Victoria. It focused on spatial manipulation of the
sounds. In live performance, as Think Out Loud, it used an additional 4 loudspeakers swung overhead by people using ropes about 2m in length.
Anistropy (Lumps in the Gravity)
This piece was largely made using a program that generated fractal
melodies as MIDI data. It uses a synthesised digital jazz ensemble.
The main idea was to bring random elements into orderly clusters, then
allow them to drift apart into sparser, apparently random gestures.
The title was a mistake – it should be Anisotropy, but at the time it
appealed to me to leave it stand.
This piece was realised on the Serge Tcherepnin modular synthesiser. I
was experimenting with how sequences of notes formed perceptual
groups, and melodic streams, based on octave placement and emphasis.
This piece is a digital realisation of a technique used in bell
ringing called Plain Bob Minor. It is a way of changing the order in
which bells are rung, by exchanging the order of pairs of bells, until
the order completes a cycle and returns to the original. I developed a
kind of pitched percussive algorithm to synthesise the sounds.
This was the first piece that was generated by a composing
program I wrote in 1983-5, called COMPOST. It began as a program that
distributed notes in a stochastic manner, generating a score for
digital synthesis, in this case using frequency modulation techniques
to achieve complex spectra. This version was quite primitive and I had
to run the program several times to create sections of the score.
I made this piece on the Serge synthesiser around the same time
as Streams/Groups. It was performed live at the Adelaide Fringe
Festival in 1980 with trumpet and tenor saxophone.
Strings of Token Strings (1984)
This piece was generated by a later version of the COMPOST
program. By this time COMPOST was more oriented towards manipulating
structural elements in a composition, using transformational grammar
techniques. The sounds themselves were synthesised using a digital
string algorithm that incorporated many elements of real string