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Noorderzon Festival

Am looking forward to this event and the opportunity to do something different and fun with the excellent Ensemble Montage.

Milton Mermikides & Ensemble Montage | Hidden Music

What does the skyline of New York sound like? How can you make a composition from your sleep patterns or blood cells? Music can be made from anything we find around us, from our names or birth dates to our cells, from atoms to stars. Composer and guitarist Milton Mermikides presents the fascinating origins and history of data sonification – the translation of information or patterns into sound and music – as well as a selection of his own compositions derived from sleep cycles, viruses, paintings, exoplanetary moons, traffic patterns and other ‘non-musical’ data. In addition, a string trio of the Ensemble Montage will demonstrate how these data sound and perform a new composition based on ‘the hidden music’ of Noorderzon Performing Arts Festival. Discover how music can reveal the patterns in the natural world, and give us both a theoretical and aesthetic appreciation of everything around us.

For students and subscribers of Studium Generale tickets are € 5,- 

TedX Groningen: Everything We Do is Music

How to Make (and maybe complete) a To-Do List

How to Make a To-Do List

IGRC2016 Timetable and Booking Now Open

The 2nd International Guitar Research Centre Conference (March 18-23, 2016) has attracted speakers and performers from every continent, and guitar style. It’s a fantastic line-up, and timetable shaping up.

Booking now open…

Alexia Coley – Drive Me Wild

The fabulous Alexia Coley, for whom its an honour to work has a video out for her great soul tune: Drive Me Wild

That. Voice.

Spiegel Im Spiegel on a Postcard

The most succinct analysis I can make of Arvo Pärt’s Spiegel Im Spiegel (a stunning and elegant work). Listen here: https://open.spotify.com/track/3rlqTqUOzu0zDwQFJe44gk

Spiegel Analysis

Palindromic scales and their modal groups

I’ve had this insight about palindromic scales, modes, modal groups, and the Euclidean (and sometimes maximally even) distributions of 7 notes in a one octave scale. This is what it looks like in my head. I really like that the ‘central’ scale of a group is not the traditional figurehead (Ionian, melodic minor etc.) but the palindromic parent. Nice to see the patterns emerge diagrammatically, and I will aim to use Melodic Phrygian and its modes in composing/improvising!

Palindromic scales

 

Pendulum Music

Translation of pendulum waves to music using a simple pitch translation system on a 5-limit Yo scale. Watch the right hand edge and all will make sense! This little experiment turned out so well, I think it deserves a whole project. My head and ears are spinning.

Bloodlines on Radio 4 Midweek

A real pleasure to appear with my sister Alex to talk about the Bloodlines project (and data sonification in general) on BBC Radio 4’s Midweek on Wednesday 28th October hosted by the quite brilliant Libby Purves. Fellow guests included the delightful and inspirational Peggy Seeger and Amati’s James Buchanan.

Available here:

Sonic Circles

The next in the series of Hidden Music data sonification works. Data sonification is a long term interest/project/passion of mine, which involves the systematic translation of ‘non-musical’ data into music.

Here I’ve taken Kandinsky’s beautiful 1926 painting Several Circles and translated it systematically into sound. Colour and vertical position are translated into timbre and pitch respectively, as the red cursor scans the image horizontally.

Whether Kandinsky was a synaesthete or not is disputed, but his fusion of music and visual art metaphor, working process and concept is well documented. From the link:

“Our response to his work should mirror our appreciation of music and should come from within, not from its likenesses to the visible world: “Colour is the keyboard. The eye is the hammer. The soul is the piano with its many strings.”
Kandinsky achieved pure abstraction by replacing the castles and hilltop towers of his early landscapes with stabs of paint or, as he saw them, musical notes and chords that would visually “sing” together. In this way, his swirling compositions were painted with polyphonic swathes of warm, high-pitched yellow that he might balance with a patch of cold, sonorous blue or a silent, black void.”

Thanks as ever to Anna Tanczos for the visuals.

 

 

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