- Started in
- Musician type
- Host institution
- Leiden University
- Personal website
Adam Łukawski is a Polish composer of contemporary classical and experimental music. His music is often inspired by aleatoric techniques, unique harmonic systems, Shepard tones, artificial intelligence and blockchain technologies. He develops a computer software using his theory of a “Periodic Fractal of Shepard-Risset frequency sets” – a new taxonomy of musical elements allowing very quick music composition. Adam studied at Conservatorium van Amsterdam with Richard Ayres and Willem Jeths receiving a Masters’ degree in Music Composition with honors (cum laude), and at Guildhall School of Music & Drama in London with Julian Anderson. He became a laureate of several international composition competitions including IBLA Grand Prize (New York, USA), Golden Key International Composition Competition (Vienna, Austria), New Music Generation-2019 (Nur-Sultan, Kazakhstan), In Modo di Lutoslawski (Warsaw, Poland). His works are published by Donemus Publishing in The Hague, are performed widely across Europe and received premieres at, among others, The Dutch National Opera & Ballet in Amsterdam, Concert Hall of The Polish Radio Philharmonic Orchestra in Warsaw, Barbican Milton Court in London, Ehrbar Hall in Vienna.
implementation of the new sound synthesis and analysis method in music composition
The prospective research would be a continuation of Adam’s Master’s thesis in which he defined a new method for synthesis and analysis of music compositions with the use of a new taxonomy of musical parameters - “Periodic Fractal of Shepard-Risset frequency sets”. The doctoral research built on these discoveries would continue to expand the method of sound and music notation synthesis in relation to the “Periodic Fractal” algorithm with the use of digital signal processing techniques. These will be subject to artificial intelligence and blockchain technologies in order to create a new computer program giving access to a new artistic de-centralised network in which musical compositions could be discovered on a tree of possibilities (rather than composed) and might generate immediate economical value serving as cryptocurrency by itself that could be exchanged and “performed” between the users of the network. During the study, the examined methodology would be implemented in Adam’s artistic practice to create a portfolio of new compositions. The study would also hopefully trigger the discussion about the future of music composition in the world quickly shifting from the Information Era towards the so-called Imagination Age.