Learning From History: Recreating and Repurposing Sister Harriet Padberg’s Computer Composed Canon and Free Fugue
Harriet Padberg wrote Computer-Composed Canon and Free Fugue as part of her 1964 dissertation in Mathematics and Music at Saint Louis University. This program is one of the earliest examples of text-to-music software and algorithmic composition, which are areas of great interest in the present day world of music technology. This paper aims to analyze the technological innovation, aesthetic design process, and impact of Harriet Padberg’s original 1964 thesis as well as the design of a modern recreation and utilization, in or- der to gain insight to the nature of revisiting older works. Here, we present our open source recreation of Padberg’s program with a modern interface and, through its use as an artistic tool by three composers, show how historical works can be effectively used for new creative purposes in contemporary contexts. Not Even One by Molly Jones draws on the historical and social significance of Harriet Padberg through using her program in a piece about the lack of representation of women judges in composition competitions. Brevity by Anna Savery utilizes the original software design as a composition tool, and The Padberg Piano by Anthony Caulkins uses the melodic generation of the original to create a software instrument.
‘Musical Gesture’ in Analysis: Gesture-Class as a formal structure
I conducted my thesis work for an MFA in Integrated Composition, Improvisation, and Technology, at the University of California, Irvine. My thesis topic centered around the use of gesture as a structural musical element and incorporated fully composed music, improvised music, and interactive computer systems.
The results of this research can be seen in my thesis paper and MFA recital
Recital: E-Motions (what about gesture?)
A New Stream Of Discourse: Case Studies into Critical Analyses of Cecil Taylor’s Music
In general, there is a lack of in-depth theoretical discussion of many types of music that don’t fit into the traditional academic canons of discourse. When the academy takes on a form of music as being a serious topic of study, there are, of course, cultural ramifications. This paper addresses some of these issues and their potential implications.
Perspectives on Public Enemy
As there is not a history of much critical analysis of hip-hop and rap music, it can be difficult to apply standard methods of academic discourse to this subject matter. This paper is a brief attempt to provide musical as well as textual analysis of the seminal Public Enemy song, Fight the Power.
Paper: Perspectives on Public Enemy
Playing the Network
This paper examines various ways that computer networks have been used as musical interfaces, environments, and even instruments themselves. Drawing on several internet-based musical projects, Playing the Network, provides a brief analysis of possible implications and applications of computer networks as creative spaces.
Paper: Playing the Network