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.
Carlos Eduardo Soares (Caeso)
By means of exploring its negative connotations as a disruptive force beyond its immediate aesthetic implications, failure is a poetic strategy used in order for artworks to subsist apart from a possible 'tracing back' to standard approaches. This research proposal focuses on the investigation of the poetic potentials of negativity through the exploitation of failure in sound based artistic practices - a context that has not been extensively addressed. Investigations should be conducted through practice-as-research, as there is no substantial repertoire which clearly relates to the subject, requiring critical and creative engagement to develop new ways to address it through an artistic perspective.
Nowadays music is just a few mouse clicks away and comes to us in many different forms; yet, no matter in which circumstances, it is primarily linked to the auditory stimuli that it consists of.
Numerous studies show, however, that visual information also play a fundamental role in the way an audience experiences a musical performance. In contrast to traditional organ performances, where the visual element is almost absent because of the hidden position of the console, the aim of this project is to use the great communicative power of vision to enhance the expressiveness of the performance and possibly overcome the limitations pointed out in the literature through the idea of the “music projected moving bodies”: a danced choreography that is added to the performer-audience line of communication.
In traditional opera creation, roles are strictly defined: the composer and librettist create the performance “text” - the score and libretto - usually prior to the gathering of the performing forces. The composer and librettist are the primary creators, with the greatest degree of artistic freedom. The stage director and the design team have some creative liberty, while relying on the given text dictated by the primary creators. The conductor and the rest of the musicians are interpreters, their roles usually strictly defined, with limited creative freedom. However, in new opera creation, the roles of creator, interpreter and performer are often significantly more loosely defined. In my research, I shall explore the ways in which a group of artists collaborate to create a new work, and compile a suggested working method for a co-created opera production, with a focus on different types of shared leadership.