Nicole Carroll (PhD)

Dr Nicole Carroll successfully defended her PhD in Computer Music and Multimedia at Brown University (USA) in October 2019 and will begin her new job at The University of Newcastle, Australia in 2020. Nicole took several graduate classes that I taught at Brown 2014-15 and from June 2017 to August 2018  was based in Brisbane as Adjunct Research Fellow at QCGU. During this time she collaborated on a number of research projects, contributed significantly to the Higher Degree by Research community, was involved in undergraduate teaching/demonstration, and developed the main practical component of her PhD: Orrery Arcana. Although I often acted in a supervisory capacity, my official role 2015-2019 was reader on the PhD project.   

“Orrery Arcana is a system for real-time audio-visual performance. The system includes a self-made modular hardware controller and custom software that allows the performer to manipulate sound during performance. The hardware controller is used to navigate systems that encompass chance operations, conceptual mapping, and data mapping, to control audio generation and processing. These process systems are based on NASA lunar data, the esoteric system in W.B. Yeats’ (1865-1939) A Vision (1937), and the numerology and symbolism of the tarot.”

Greg Olley (Honours)

Exploring the Compositional Possibilities of Sampling Pre-Existing Audio Using a Self-Designed Audio Recognition System

This study explored the compositional possibilities of pitch-based samples. Pitch recognition and sampling technology were used to create a software tool that analysed an audio source and exported samples that matched a pitch specified by the user. These samples were then used as material to compose a portfolio of music that reacted to the challenges posed by this novel approach to sample collection. These compositions and a reflective journal were analysed to study the effects of using this method on my compositional process. This information was used to detail my developing creative processes as well as describe some considerations for other composers interested in this method of sampling.

Paul Bardini (PhD)

This research involves an ongoing investigation that explores the role of open source principles in design practices and innovation. The foundations of this investigation is understanding how open processes and information can assist innovation it he design and development of Internet of Things artifacts which exist within the physical computing arena. Open data, the exchange of free on-line information, is often used in business or statistical mapping. Whether this data relates to the stock exchange, weather, or the latest seismic event, visualisation habitually occurs through a display unit, be that a monitor on a computer or smart phone. Designs and techniques of making are also often shared online, but how is this best done in a ways that promote update, further development and sharing, and lead to systematic processes of design innovation?

Richard Frenneaux (PhD)

Networked digital culture: Co-creation and its effects on the creator and creative process within the music industry

This research aims to provide a clearer understanding of the impact of digital networked participatory culture on the creator and on the creative process within the context of the music industry. Artists today are expected to adapt to a rapidly shifting market, where music platforms and consumption patterns are constantly changing. Not only is it important to understand the impact of digital culture on the music creator today, but also to forecast where value within creative exchange is moving, and the extent of its artistic and commercial value. While there has been a great deal of published work examining the impact of participatory exchange on the consumer and on the music industry (e.g. Negus, 2015; Wikström, 2014; Choi & Burnes, 2013), there is very little published work regarding the impact on the creator. Given the extent and pace of change as well as the volume of platforms emerging that hope to harness the potential for participatory exchange, it is timely to undertake a study of the impact on the creator, framed around my own experience as an artist and producer.

David Chechelashvili (PhD)

Developing Compositional Strategies for a Modular Synthesizer

This project investigates musical composition using a Eurorack modular synthesizer system. The intention is to explore the compositional affordances and limitations of this instrument through composing a series of musical works. A modular synthesizer is a dynamic musical instrument — it lends itself to being updated and modified to suit a composer’s current needs. I am interested in exploring the relationship between the composer and the instrument given the instrument’s mutability.

The compositions developed during this project will be primarily electronic, resulting from a novel compositional approach involving multi-parameter control of modular synthesizers through computer software generating serialized data. Modular systems have become very accessible and are more popular than ever before, however, compositional theory in this area is limited. The recent rise in interest in modular synthesis provides fertile ground to carry out this work. Findings of the project will offer further insights the nature of the relationship between the composer and a musical instrument and also into compositional strategies that complement this particular instrument.

Sean Foran (DMA)

This project explores interactivity in the jazz trio through the use of acoustic improvisation and Live Electronics. In my music creation I have become curious about the ability to modify and manipulate acoustic sounds using technology, in the live performance environment. I’m interested in how this musical practice – Live Electronics – can extend the capability of acoustic music and how these sounds, processes and technologies can create engaging musical work, both live and in the recording studio.