Music

2015

Sonic Complexity, text & audio, Gmebogosse (004)

Tintinnabuli Mathematica vol. I. DL. + extra track previously on SEQUENCE7 (2013)

Hardly Itself, 40 page publication, conversation with Roc Jiménez de Cisneros, ALKU (ALKU 139)

Sequencing on bus017a by EVOL. LP / DL, BUS Editions (bus017a). Info.

Guy Birkin & Sun Hammer – Complexification, CD, Entr’acte (E187)

2014

Bits EP, DL, basic_sounds (bsc_046)

‘Tintinnabuli Mathematica 10b’, on Splice-Free radio programme by Eric Frye, broadcast 9 January 2014 via KFAI Radio, DL / stream.

‘Tintinnabuli Mathematica 4e2’, in Entr’acte mix by Marco Douma & Rutger Zuydervelt–March 2014, Entr’acte, DL.

‘SH-remix-1c’, remix of ’22_SEQ7_3′ by Sun Hammer, on: | (2014), DL.

Tintinnabuli Mathematica vol. I (2014), CD-R / DL, Runningonair Music

2013

‘2013.02.04’, track in Complex Silence 33 mix by Phillip Wilkerson, DL. Info.

‘Tintinnabuli Mathematica 12d’, track on SEQUENCE7 compilation, Futuresequence, DL. Info.

‘2013.02.04’, track on 3m33s compilation by Le Berger, DL. Info.

Guy Birkin & Sun Hammer – ‘Complexification0008GB (Failure)’, track on SEQUENCE5 compilation, Futuresequence, DL. Info.

‘Sweet Dreams of an Absent Summer’, remix, Fragments of an Absent Summer (remixes) by Leonardo Rosado, DL. Info.

2012

Harmonic Series, unreleased set, stream

‘Ptinid 3’, track on SEQUENCE4 compilation, Futuresequence, DL. Info.

2011

‘Fourier-Gabor’ (Symmetry-Breaking), Endless Endless (v6) mix, Audiobulb. stream

‘Ice Cloud Ten’ (Symmetry-Breaking), Day of the Dead mix by Joe Evans, Futuresequence. stream

‘Bramble’ (Symmetry-Breaking), in Waves Approaching mix by Phirnis, A Closer Listen. stream / DL. Info

‘Bramble’ (from Symmetry-Breaking), SEQUENCE2, Futuresequence, DL.

Symmetry-Breaking (2011). CD-R / DL, Runningonair Music

Disquiet Junto

The Disquiet Junto is an open group for making music run by Marc Weidenbaum. I’ve been taking part irregularly since its inception in January 2012. My contributions to the Junto are collected in a set on SoundCloud. More info on all the projects at Disquiet.com.

2 Responses to Music

  1. phermans says:

    this is an interesting body of works. do you employ generative processes in the composition of these pieces? what role does complexity play in your music?

    • Guy says:

      Hello phermans. Thanks. Yes, most of my music is based on some kind of generative process. My approach to generative composition is grounded in complex systems theory and information theory, and so my approach to generative composition is closely related to Philip Galanter’s definition of generative art (see this paper: http://philipgalanter.com/downloads/ga2003_what_is_genart.pdf ). My projects use a variety of generative systems. For example, the Tintinnabuli Mathematica series uses algorithmic integer sequences as the basis for composing melodies, and uses Arvo Pärt’s tintinnabuli method as the basis for generating harmonies. In answer to your second question, complexity plays the role of something to be understood through exploring ways of generating and manipulating it. So, many of my pieces are experiments in the sense that I’m using them to explore what makes musical complexity in terms of both objective and subjective properties. I also use complexity as a variable to structure elements within a piece, or to arrange pieces in a sequence. I see from your site that you’ve worked with Larry Polansky. The writings of Polansky and James Tenney have been useful in exploring this subject.

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