Part Two: The Wings of Nike

A specific electroacoustic composition that reflects what I believe to be significant in the 21^st century would have to be The Wings of Nike by the composer Barry Truax. Not only does his successful development of real time granular synthesis reflect some of the current issues facing music technologies today, but his motives for creating this technology reflect the current interests in “getting inside” sounds, and gaining more accurate and versatile means of expression.

The challenges Barry Truax faced before the creation of The Wings of Nike reflect in some ways, the situation that many composers and electroacoustic researchers face today. Truax was researching and developing in a time when technology was far behind people's abilities to theorize. Granular synthesis requires a multitude of short enveloped “grains” of sound to be played back at various attack densities, hundreds, or even thousands per second. These types of operations were beyond the power of readily available computer technology in the early 80s. So, he had to follow technology closely, and when technology caught up with his ideas, he used the PODX system to create the first real time Granular Synthesis composition. The Wings of Nike.

Today, we can learn a lot from the patience and dedication of Truax during the comparatively slow technological progress of the 70s and 80s. Currently, the gap between theory and computing capability is closing fast. We are quickly approaching a world where the problems of an electroacoustic composer are not expressed in terms of inadequate processor speed or the price of computers. Our problems can be expressed in terms of a need for creative imagination and the human resources needed to create complex software programs and hardware interfaces.

Part 1 Possibilities

I was asked to write an essay in three parts as part of my application to Dartmouth. I thought I'd share some of my ideas.

What specific aspects of music and technology are you interested in?

“I am interested in possibility. Projects possible now. Projects that were not possible yesterday.”

At the beginning of the 21^st century the stage has been set for a revolution in the way people experience music. Increasingly advanced technologies, file sharing, low hardware prices and the open source movement have planted the seeds of change, not only the music industry, but the way people experience music in general.

I have seen augmented reality technology transformed into a stunning musical interface, where the user manipulates IR equipped physical objects overlaid with an interactive digital projection. I have experienced virtual 3D sound environments that push the boundaries of immersive experience. I watch, as old music business models based on greed and commercialism are slowly undermined by new and creative ways of thinking And, I am convinced that we have only begun.

I am a composer. I am interested in anything that gives me more expressive possibility. When I see all these disparate technologies, each pushing in their own direction, I see a climate where the potential for creative expression is astronomical.

More than anything, I am interested in learning how to take control of, and build on existing technologies. New interfaces, new sound experiences, new ways of sharing these experiences with the world.

I have experience with Max/Msp, VSTI, sequencers, audio editors, motion capture interfaces, visualization generators etc. However, despite the incredible recent advances in these fields, I am left feeling as though these technologies are still in their infancy. I am interested in being part of their development, in positioning myself in such a way that I can be ready when the ball drops and these new technologies begin to really take off. And, I'd like to have been part of it.