On AI and Music...
Neither all bad nor all good. We would be crazy not to use it — but there is a large 'but'.
Thoughts on composition, listening, technology, and the creative process. Words that extend beyond the work itself.
Neither all bad nor all good. We would be crazy not to use it — but there is a large 'but'.
What collaboration actually is, how it is learned, and why it might be the most important thing I do.
Creation is in reach of everyone, at any age. I've had the privileged spot to watch this happen, as both collaborator and teacher.
Written in 1989 and published in a music journal under the name Carl Harrison. The arguments about cycles of experimentation and conservatism in music feel remarkably current. The names have changed but the dynamics haven't.
You know what's the scariest thing about prostate cancer? Not the biopsy, not the treatments, not the side effects. A simple blood test that takes less time than ordering a coffee.
Centre Acanthes 1993: fresh in from a year in Denmark studying composition with Per Nørgård, Karl Aage Rasmussen and Hans Abrahamsen, I found myself in the south of France just outside Avignon...
My new motto. Ray Nelson's Eight O'Clock in the Morning, John Carpenter's They Live, and Slavoj Žižek's A Pervert's Guide to Ideology — on seeing what's actually there.
I tell my young undergraduate students that they must persevere. Stay the course — because no one cares if they succeed. Especially us.
Jonathan Harvey looks at and decrypts the early work of Karlheinz Stockhausen. 144 pages, approachable and succinct — a great book to have at hand.
patch /paCH/ — a piece of material used to mend or cover a hole or a weak spot. A small piece. A temporary connection in a communication system. Where connections are made from anything to anything.
Reflections on co-leading an electroacoustic composition course at Art Zoyd Studios in Valenciennes, France — on collaborative teaching and teaching collaboration.
Or: Sonic Arts for Dummies (a work in progress). How do you describe Sonic Arts? What is it, how does it work? What do you do with it?
A 2002 paper co-written with Manuel Poletti and Tom Mays for the Journées d'Informatique Musicale in Marseille. An early attempt to name and define what we were all doing — and why it mattered.