Author Archives: davidhirstmusic

About davidhirstmusic

Electroacoustic music composer and educator.

Sonochrome I at Seen Sound

SeenSound, 4 July 2020

Loop Back Bar

23 Meyers Place, Melbourne 3000

The SeenSound: Visual/Music series provides a space for the presentation of short visual/music works. SeenSound commenced in 2011, curated by Melbourne-based audio-visual artists Brigid Burke and Mark Pedersen, and is proudly supported by Loop Bar

Recording of video stream:

Sonochrome I – A video art music work by David Hirst, see:

From 22’12” to 28’51” 

ACMC 2020 Performance

My video art music work called Pierre and Frank was included in the Australasian Computer Music Conference 2020 concert series:

https://acmc2020.com/poster_10.html

This two movement piece uses the Various-Gen system I outlined in my presentation. The video art content was generated using 3D software I wrote with shapes activated by the music. Here is an extract from the program notes for the work:

“Presented in two distinct parts, this work is dedicated to two of the most original composers of the twentieth century: Pierre Boulez and Frank Zappa. Although their life trajectories were quite different, one an orchestral conductor and the other a rock musician, their paths crossed through their compositional activities. …”

Programmed in Concert 2, Pierre and Frank can be viewed as the 5th work in a video record of the concert from 35’27” to 43’35” on this Youtube video of the Concert:

ACMC 2020 Conference – Presentation

This year, the Australasian Computer Music Conference (ACMC 2020) was conducted as an online conference at the Australian National University, from July 3–11, 2020.

Gave a video presentation, titled Vari-Gen: A Generative System for Creating Musical Variations Using Max, Bach, and Cage in Real-Time

https://acmc2020.com/poster_9.html

This talk demonstrated a new system for generating variations on segments of music that have been previously recorded or composed and saved as MIDI files.
The system builds on work presented at the ACMC 2018 Perth conference which was documented in the paper Hacking Music Notation with Bach and Cage (Hirst, 2018), but actually functions in real-time.

The talk runs from 00’20” to 11’39” on this Youtube recording of the session stream. It is the first presentation on the video:

Job-ready Discussion Paper Analysis

The Australian Government Education Minister Dan Tehan recently announced a new funding model proposal for 2021 for Universities in Australia, and published the “Job-ready Graduates Discussion Paper” on 19 June 2020. I have collated and analysed some of the data from that paper and prepared a PDF document with additional data here.

Student funding contributions and Government contributions are compared for the different disciplines for 2021. Firstly using the current funding model, then using a proposed new funding model that is released for discussion.

The major change for students at one extreme means they will have to pay for 93% of their degree studies, which is a 28% increase for Law and Economics students and a massive 113% increase for many Humanities students (Social Studies, Political Science, Behavioural Science, Philosophy, History, and Communications). At the other extreme, Agriculture students will only pay 12%, Nursing and Languages 18% of their education. That represents a reduction of 62% in fees for Agriculture students and 46% reduction for Nursing and Languages.

Government funding has seen a reduction of between 82% and 92% for most of the Humanities, a reduction of 51% for Law, Economics, Management and Commerce. Reductions of 14% for Science and Engineering, and 33% for Environmental Studies. A massive increase of 117% to English, plus generous increases to Maths, Other Health, Architecture, IT (all 23%), Languages (22%), Teaching (18%), and more modest increases to Nursing (9%), Agriculture, Medical, Dental, and Veterinary Science (all 10%). There is no change to Government funding proposed for Clinical Psychology, Allied Health, or Creative Arts.

The “Job-ready Graduates Discussion Paper” is available here.

The current funding arrangements for 2020 can be found here.

 

Pierre and Frank Part 2

Pierre and Frank is dedicated to two of the most original composers of the twentieth century: Pierre Boulez and Frank Zappa. Although their life trajectories were quite different, one an orchestral conductor and the other a rock musician, their paths crossed through their compositional activities. Pierre Boulez founded the French research institute IRCAM in 1977 and conducted several tracks on the Zappa album The Perfect Stranger in 1984.
Part 2 (Frank) uses drums, bass, and a lead instrument in a form that begins with a solid drum back beat, then morphs into a duet between drums (percussion) and lead instruments, followed by a duet between lead and bass, before a final return to solid drum beat, bass line and lead synths.
[Frank Zappa picture by Jean-Juc: The image file is licensed under the Creative Commons Attribution-Share Alike 2.0 Generic license]

Pierre and Frank Part 1

Pierre and Frank is dedicated to two of the most original composers of the twentieth century: Pierre Boulez and Frank Zappa. Although their life trajectories were quite different, one an orchestral conductor and the other a rock musician, their paths crossed through their compositional activities. Pierre Boulez founded the French research institute IRCAM in 1977 and conducted several tracks on the Zappa album The Perfect Stranger in 1984.
Part 1 (Pierre) is a more homogenous electronic style work, which is not really an emulation of a Boulez piece, but is a nod to his use of electronics.

Sonochrome I

Sonochrome I (2019) A “video music” art work first screened at the “Seensound” event in October at the Loop Project Space in Melbourne. This piece continues my work using music to activate moving imagery using the visual programming language Max/MSP/Jitter to create the images and sound, which then interact with each other.

Sonochrome I Excerpt from David Hirst on Vimeo.