Margaret Schedel: Sonification as the Basis for Musical Composition
Sonification as the Basis for Musical Composition
Monday, February 26, 2018
Music Collaboration Laboratory, AITRC 190, UCI
Free and open to the public
Sonification can be used for purely scientific purposes, or as the basis for musical composition. There is a continuum between auditory display, which attempts to faithfully reproduce data in audio, and composition in which creativity can be king. In each case, aesthetic decisions must be made in order to translate data into the auditory domain—either to bring out or hide a quality in the data or to massage the sound of the data in order to fit musical goals. In this talk, Professor Schedel will cover several case studies of sonification at Stony Brook University, from x-ray scattering of nano-structures, to FMRIs of the brain, to the gait of patients with Parkinson's.
Margaret Anne Schedel is a composer and cellist specializing in the creation and performance of ferociously interactive media, whose works have been performed throughout the United States and abroad. As an Associate Professor of Music at Stony Brook University, she serves as Co-Director of Computer Music and is the Director of cDACT, the consortium for digital arts, culture and technology. She ran SUNY's first Coursera Massive Open Online Course (MOOC), an introduction to computational arts. Schedel holds a certificate in Deep Listening and is a joint author of Cambridge Press's Electronic Music. She recently edited an issue of Organised Sound on the aesthetics of sonification and her two of her pieces are featured on the REACT recording by Parma Records. Her work has been supported by the Presser Foundation, Centro Mexicano para la MÃºsica y les Artes Sonoras, and Meet the Composer. She has been commissioned by the Princeton Laptop Orchestra, the percussion ensemble Ictus, and the reACT duo. Her research focuses on gesture in music, the sustainability of technology in art, and sonification of data. She sits on the boards of 60x60 and the International Computer Music Association, is a regional editor for Organised Sound, and is an editor for Cogent Arts and Humanities. In her spare time she curates exhibitions focusing on the intersection of art, science, new media, and sound