Roger Dean and host Scot Gresham-Lancaster talk about the wide range of Roger's work as a composer, scientist and expert in music cognition. A fascinating look into the ongoing work he is doing finding the connections between the experiences of creating music that is tuned to the functions of human auditory cognition. Reference
Bio: Roger Thornton Dean (born 1948 in the UK) is a British-Australian musician, academic, biochemist and cognitive scientist. Alongside his academic research, he is always a composer/improviser, having worked with many key participants on the European and Australian new music and improvisation scenes, and being deeply involved in electroacoustic music. He founded the ensemble LYSIS in the UK and 1970, and it became austraLYSIS when he moved to Australia in 1988, and continues there still. He is married to poet, writer, musician and academic Hazel Smith, and was educated in the UK at Corpus Christi College, Cambridge where he gained his bachelors and first doctorate. While researching in biochemistry, he became in Australia the foundation Director of the Heart Research Institute, Sydney (1988-2002), and then the Vice-Chancellor and President of the University of Canberra (2002-2007). Moving his research and other activities closer towards his musical creative work, since 2007 he has been a research professor of sonic communication at the MARCS Institute for Brain, Behaviour and Development, Western Sydney University.
more information hereCarla Scaletti is an experimental composer and designer of the Kyma sound design language and co-founder of Symbolic Sound Corporation. Her compositions always begin with a “what-if” hypothesis and involve live electronics interacting with acoustic sources and environments. The listener is encouraged to first watch Carla’s brilliant keynote at the 2017 International Conference of Audio Display if possible at This Link
Gregory Kramer is a composer, scientific researcher, author, entrepreneur, and teacher. He is a founding figure in the emerging field of Sonification and published the first book in this area,”Auditory Display: Sonification, Audification and Auditory Interfaces” (Addison Wesley) The definition of sonification that everyone studying this field reads was written by Greg.
Dolores Catherino is a polychromatic composer and multi-instrumentalist. Her avant-garde compositions use sonic ‘pitch-palettes’ of 106 and 72 EDO (equal divisions of the octave) and are performed on visionary 21st century keyboard
instruments.
As a musician, she is focused on exploring new sonic worlds within a polychromatic framework which simplifies and unifies our rapidly multiplying microtonal pitch-scale methods. Polychromatic concepts of musical
‘pitch-color’ and ‘interval-color’ are also intended to simplify the exploration of new aesthetic possibilities in the practice of associative synesthetic awareness: learned associations and conceptual/perceptual integration of
audible
pitch with visual color. With an undergraduate study in music and graduate study in medicine, she hopes to explore and develop integrated perspectives between the sound arts and sciences.
Barlow, who studied composition under Bernd Alois Zimmermann (1968-1970) and Karlheinz Stockhausen (1971-1973), is a universally acknowledged pioneer and celebrated composer in the field of electroacoustic and computer music. He has made groundbreaking advancements in interdisciplinary composition that unite mathematics, computer science, visual arts, and literature. While he has been a driving force in interdisciplinary and technological advances, his music is nevertheless firmly grounded in tradition and thus incorporates much inherited from the past. His works, primarily for traditional instruments, feature a vocabulary that ranges from pretonal to tonal, nontonal, or microtonal idioms, and, further, may incorporate elements derived from non-Western cultures.
Jordan Wirfs-Brock studies the future of voice interactions from a human-centered computing perspective. Her research focuses on how unexpected mechanisms—sound, taste, participatory experiences—can help people understand quantitative data. For over ten years, she has been making complex information approachable as a journalist, data analyst, producer, and designer.
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