Renowned TedX Groningen and Ableton Loop keynote speaker, Dr Milton Mermikides and Ableton Certified Trainer Phelan Kane take a look at some less than conventional ways to generate rhythms and sound. Using Live and custom Max for Live devices, this workshop introduces a range of tools and methods to break out of standard repetitive cycles of electronic music composition. Through a series of exercises using custom-built Max for Live devices, they’ll explore Euclidean sequencers, odd meter, micro timing, hypermeter, swing and latency, with the aim of unleashing your creativity and exploring uncharted territory beyond the standard 4/4 landscape.
Bridget and Milton Mermikides will be performing their classical guitar and live electronic project, Tension Blue at Canterbury Christ Church University, preceded by a talk on Milton’s Hidden Music series. Wednesday 24th January 2018, St Gregory’s Centre for Music (Talk 11.45am, Concert 1.10-2pm), Free Entry.
It has been a wonderful experience writing and making music for a stage adaptation of Ralph Ellison’s sublime/vital/classic novel Invisible Man. The author Ralph Ellison was a jazz trumpeter and cornet player, a student of symphonic composition, a deep connection with African music and a radio/electronics fanatic. Being allowed, even obliged to employ an eclectic blend of jazz, modernist, electronicism and African rhythm; as well as ‘working’ with the unnecessarily talented and lovely team of actor Clarence Smith, directors Anna Girvan & Tinu Craig, African percussionists Sola Akingbola (Jamiroquai) & Richard Olatunde, and of course the cellist prodigy Laura van der Heijden was/(continues to be) an immense privilege and joy. More about the emerging project here: invisiblemanplay.wordpress.com
A fantastic article by Guardian journalist/leukaemia warrior Hannah Partos on the Arts Council-funded project Careful – which focuses on the lives of 4 nurses – written by Alex Mermikides, and with music (based on the sounds and rhythms of the hospital) by Milton Mermikides.
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,-
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.
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.
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.”