SPARK 皇毅
Stanford
CCRMA
As a student at CCRMA (Center for Computer Research in Music and Acoustics) at Stanford University, you are at the forefront of exploring the fascinating intersection of music, technology, and acoustics. Your work here could involve pioneering research in digital signal processing, creating innovative computer music compositions, or developing new tools and techniques for music information retrieval. With access to cutting-edge technology and guidance from leading experts in the field, you might delve into projects that range from designing advanced audio synthesis algorithms to experimenting with real-time interactive music systems. Additionally, your work could encompass the study of psychoacoustics to better understand how we perceive sound, or the physical modeling of musical instruments to recreate their sounds digitally. CCRMA not only provides a platform for academic exploration but also offers opportunities to collaborate on interdisciplinary projects, blending art, science, and engineering to push the boundaries of what's possible in the realm of computer-based music and acoustics.
Electronic Sound Poetry
Tech: Logic pro, Ableton, RX, Max
Electronic sound poetry is a captivating and innovative art form at the intersection of literary and musical composition. This genre is distinguished by its focus on the phonetic elements of human speech, prioritizing sounds, rhythms, and tonal variations over the conventional semantic and syntactic language structures. In essence, it is an exploration of “verse without words,” crafted for performance and resonating deeply with the audience's auditory senses.
The genesis of sound poetry is rooted in the 20th-century avant-garde movements, particularly Futurism and Dadaism. Visionaries like Filippo Tommaso Marinetti and Tristan Tzara pioneered this form. They introduced innovative categories such as the Bruitist poem, which emphasized phonetic sounds; the Simultaneous poem, a multi-lingual, rhythmically, and tonally diverse performance; and the Movement poem, which combined poetry with physical movements. These early explorations set the stage for a new realm of poetic expression transcending traditional linguistic boundaries.
With the advent of the magnetic tape recorder in the late 1940s, sound poetry began to evolve in tandem with technological advancements, leading to the rise of the concrete music movement. This progression continued through various cultural and artistic movements, including the Beat Generation and the Spoken Word movement of the 1980s. Each era brought its unique contributions, weaving together a rich tapestry of sound and language that pushed the boundaries of traditional poetry.
Today, electronic sound poetry encompasses diverse influences and techniques, as reflected in our curated playlist. From the classic sound poems of Hugo Ball and Kurt Schwitters to the modernist vocal techniques of Arnold Schönberg and Luciano Berio, the playlist is a testament to the genre's evolution. It also features contributions from spoken word artists and popular musicians, illustrating how sound poetry has permeated various aspects of our cultural landscape. Through this art form, we see a continual blending and reimagining of sound, rhythm, and language, inviting us to experience poetry dynamically new and immersively.
Electronic Sound Poetry
Electronic Sound Poetry
Twin Flame
Digital Sound Synthesis
Tech: Faust, Chuck, 8 channel speakers.
Programming for Musicians and Digital Artists, I learned various aspects of signal processing and digital sound synthesis in two audio programming languages: Faust and Chuck. In those programs, I get hands-on experience in additive and subtractive synthesis, physical modeling, and granular synthesis. In addition to these, I also did a laptop orchestra and live coding performances.