Research is a systematic investigation of some aspect of thought or reality which leads to transferable knowledge.
In artistic research, this knowledge, embedded in compositional or performative work, may be expressed through diverse media, including but not confined to written text.


Giuliano Anzani (master's degree 2017)

Dynamic Stochastic Synthesis: A Performative Approach

Based on the model of dynamic stochastic synthesis (GENDY) created by Iannis Xenakis, my master's research aimed to investigate the timbral possibilities of this approach through the development of a dedicated live-­performance environment. During the initial period of this research, a hybrid interface consisting of a specialised software and a physical controller for interacting and performing with the dynamic stochastic synthesis model was developed. 

Following this path, the research carried out during the master’s programme, describes the development of a practice aiming to control the GENDY algorithm in real time. In these lines, the result of  this  study  contributed  a  real-time  instrument  named  as  ExGen, which  was  designed  as  an environment for the usage of GENDY as the main source for further sound manipulations.  

The stochastic nature of this synthesis technique became the inspiration and the antagonist of the performer who, through the ExGen system, can control and vary the behaviour of the stochastic synthesis. 

Using the knowledge and the practice achieved from the master’s research, the next step of this project is focused on the further development of this instrument. 

An optimisation of the audio synthesis used in the software appears as a next step. This implementation includes the development of different audio plugins that will be made publicly available in order to receive feedback and suggestions regarding the utility of this tools. 

In the previous version, a variety of commercial MIDI controllers was recruited for the physical interaction between the performer and the ExGen. This fact resulted in a series of limitations. A further step in the development of this instrument is the development of a dedicated hardware that will overcome these limitations. Using the practice developed for the master's thesis, the objective of this implementation is to design and build a  specific physical surface for the  real-­time use of this environment. A simplification of the controls is also planned in order to obtain a more efficient interaction between the controller and the performer. 

Simultaneously with the development of the instrument, the software and the hardware developments gathered in this research, will be documented, collected and released through a dedicated website under Creative Commons (CC) license, in order to provide freedom of use and allow further modifications of these tools. 


Kyriakos Charalampides (master's degree 2017)

Rhythmanalysis: an expressive tool for environment-aesthetics relationship

Just before the dawn of the 21st century, Henri Lefebvre envisioned an act that sought to analyse the world as a moving complexity. In 1992, the publication of Rhythmanalysis aspired to transform the abstract concept of rhythm into a method. By studying periodic temporalities through subjective prisms, Rhythmanalysis carries the vision to allow its practitioners to listen to a town or a street, in the same way as an audience listens to a symphony. The present research aims to study Lefebvre’s ideas as an alternative way of musical expression focused in the environment/subject intersection. During the first part of this investigation, micro-periodic relations between the observer and observed were studied as a compositional method. Based on the findings of this period, the second part of this research is focused in macro time scales. Current experiments aspire to retrieve coherent rhythmical relations from large sets of data, in order to transform complex sequences of events into musical structures.

Kyriakos Charalampides is a sound engineer and composer from Greece. His interest orbits around environmentally emerged aesthetics. He has been involved as a post-production engineer in several music and film productions. During the last years, he is occupied with applications of Rhythmanalysis in sonification. He holds a BSc in Sound Engineering and Music Technology and a MMus in Sonology from the Royal Conservatoire.   


Yota Morimoto (master's degree 2009)

My research interest is to bring compositional approaches into microscopic domains. The following illustrate some of my approaches to it;

1. Using computers to organize minute elements of sound.

I have been developing sound generators since my M.A. period. The research involves searches for and adaptations of foundational processes that exhibit higher-ordered structures. Practically, these have been utilizations and modifications of nonlinear dynamical systems, and others, a kind of data bending sound synthesis. The current development has been presented at the SuperCollider Symposium 2010 and part of the library published under GPL.

2. Using transducers to materialize instrumental and acoustic microsounds.

These includes installments of microphones to magnifying the otherwise inaudible instrumental mechanism and electroacoustic time-space transformations of captured acoustic sounds.

Current projects deriving from the above mentioned interest are;

1. Exploration of instrumental and synthetic microsounds in large scale multi-channels systems.

I am working with a cellist using the (non-) WFS system, including the future plan to develop a live-electronics system with an augmented cello (currently being developed at the EWP [Elektronische Werkplaats]).

2. Creation of audio-visual works with algorithms.

The transferability of microscopic processes to different media, and its consequent difference in sensorial experiences are tested in audio-visual works.

3. Leading a multi-media collective 'sukebeningen' exploring Japanese aesthetics.

Combining my attention to the instrumental inaubibles with the Japanese favoring of subtleties, the project premiered a piece in 2010, and further activities in 2011 are supported by the Nomura Foundation.



So Oishi (master's degree 2015)

Changing Timbre with Algorithms and the Application to Music with Loop Patterns

The goal of this research project is to expand the expressiveness of music with looping patterns by developing timbre control methods over time. Both timbre and loop play big roles in much electronic music including most of my pieces. Those two elements are not separable entities, but the transformation of timbre plays a crucial function in the gradual evolutionary process of loop patterns. By focusing on music with loops, I will explore how changing sound colors could drive musical evolutions in interesting ways.

This project consists of the study of various synthesis methods as a means of making unique timbres, the development of algorithms to control timbre-related parameters over time, and the application of timbre control techniques to compositional processes.

So Oishi was born in Tokyo, Japan. He majored in architecture at Waseda University in Tokyo and media studies at New York University. Inspired by the underground techno scene in New York City, he later decided to dedicate himself to electronic music. He has been active as a DJ for about 10 years. He also composed music for independent Japanese films and exhibited a sound installation piece in Tokyo.


Kacper Ziemianin (master's degree 2015)

Sound in Time or Time in Sound?

My research will have both practical and theoretical parts. I would like to focus on a very intricate relation of sound and time. One of the most common definitions of music is that it is 'sound organised in time'. I would like to take a different approach and make 'sound organised by time' a starting point of my work. One of the simplest examples would be a generative composition where depending on the time in this very specific moment we get different sound events. There are six basic parameters that I could use: seconds, minutes, hours, days, months and years and potentially a few more. This gives me a limited set of values to work with which can be quite interesting. As we know, limitation in music is not necessarily a bad thing. This is the initial idea which could end up being an installation, or a series of short compositions, or something rather different.  

Some other ideas and areas that I would like to research during my studies could include:

- perception of time and perception of sound, how do they influence each other?

- the role of time in sound art and music

- changing perception of time in human history

- objective vs. subjective perception of time

- compositions that relate or are influenced by time 

- the means of expressing time with sound

Kacper Ziemianin has background in classical music and a lot of adventures in sound, ranging from black metal, electronic music to ambient and noise. After graduating from Jagiellonian University in his home town Cracow, he moved to London to study Sonic Arts (BA) at Middlesex University, from where he graduated in 2010. In the meantime he also studied at the Cracow Music Academy with Marek Choloniewski, at STEIM in Amsterdam and at University of Arts in Berlin with Alberto de Campo.

At present his focus is on building his own instruments and interfaces and modifying existing ones. During live performances he improvises using self-made instruments creating live electronic music with a focus on texture. Kacper has built audio-visual installations as well as interactive pieces, he has done sound design for short films and theatre and works at London's best arts radio station Resonance FM, where he does the Polish Deli show about the Polish independent music scene. He has performed and shown his works in Ireland, UK, Finland, Germany and Poland.