Text, including the two scores - Columbia University Department of ...

this point, the program is finished, and I have raw material from which to extract musical building blocks of the score. I listen to the result, mark moments of interest, and then copy a selection (or family of selections) into a new sequence. I do a lot of decision-making and rewriting on a measure- After
level: collapsing a polyphonic phrase into a monophonic phrase for an instrument, or distributing a polyphonic phrase across several instruments, or throwing away information if the phrase is too dense with notes, or adding material if it is too thin. From this point forward, however, my by-measure
collapses into that of traditional composition. process
DSP with FFTToolkit As far back as 2003, I was experimenting with Fast Fourier Transform (FFT) coding to do signal analysis and resynthesis, building upon Perry Cook's library of FFT functions in the C programming language [1]. My initial 1.2
aimed to design a morphing function to interpolate between the FFT frames of a sound. Those early seeds ultimately led, years later, to my own library of FFT code, which were designed as the basis to realize several specific compositional tasks that I devised. This library and set of specific applications experiments
packaged and released under the generic name ‘FFTToolkit’. My primary goal for these compositional tasks, in addition to solving were
specific programming and algorithmic challenges, was to generate a large amount of aurally interesting material out of a limited body of samples. All three processes make a new sound out of multiple sample sources, and a resultant sound is necessarily defined as associations (whether near, far,
the
6