SEAMUS

Society for Electro-Acoustic Music in the United States

  • News
    • SEAMUS Journal 29-1-2 Released
    • Suzanne Ciani [SEAMUS Award 2023] acceptance speech excerpt
    • CIME – ICEM 2023 and HELMCA Electroacoustic Music Days 2023
  • Conferences
    • SEAMUS 2024 National Conference – Call for Works
    • Conference Submission Webinars
    • Past Conferences
      • Most Recent Past Conference
      • 2023 Conference, April 7 – 8, NYC
    • Future Hosts Interest Form
      • How to Host a Conference
  • Opportunities
    • SEAMUS/SWEETWATER STUDENT COMPOSER COMMISSIONING PROGRAM
      • FAQ
      • Previous Student Award Recipients
    • Allen Strange Memorial Award
    • CREATE grants
    • SEAMUS Award
  • SEAMUS Publications
    • Journal SEAMUS
    • Member Newsletter
  • For Members
    • Music from SEAMUS
    • 2023 Conference Video Archive
      • List of Pieces and Composers [2023 Conference, by concert]
    • Electroacoustic Miniatures Series Downloads
    • Member Directory
      • Edit Profile
    • Membership FAQs
    • Facebook Page
  • Programs and Projects
    • Mentor – Mentee Program
    • Electroacoustic Database Repertoire (project in progress)
  • About
    • History
    • Officers and Staff
      • Past Presidents
    • Why Join?
    • Inclusion and Diversity
    • Bylaws
    • Board Meeting Minutes, Archive
    • Sponsors

mia-graik-mabta

2019-09-23

for marimba and computer processing

Composer: Brett Masteller

Year of Composition: 2003
Instrumentation: marimba
Type of Electronics: Live

Number of Channels: 2
Duration: ~13 minutes
Video Component: None

Recording

mia-graik-mabta was composed in the spring of 2003 for the percussionist Satoshi Takagi and is dedicated to him. The piece is divided into six sections and each section is built around one idea. The computer processing ties the sections together. Throughout the duration of the entire piece, the computer is taking audio snapshots of the performance. The pitch information obtained from these snapshots is used to control a number of oscillator banks. With the marimba (as with many instruments), the dynamic level of the instrument is proportional to the partials / overtones produced. So, the pitch tracker in the computer will not always relay the same frequency information when the snapshot is taken. These factors vary from performer to performer. Other signal processing techniques such as delays, harmonization, filtering, granulation, and chorusing can be heard throughout the piece.

Login to SEAMUS

Join Us!

Membership in SEAMUS is open to all interested parties and brings lots of exciting benefits. Click the button below to join. Click here to renew your membership.
Join Now!

Connect with SEAMUS

  • Email
  • Facebook

© 2023 SEAMUS, All Rights Reserved · Site Design by Punkt Digital · Policy Statements

  • Contact Us
  • Board Officers & Staff
  • Policy Statements