Footwork is a style of electronic dance music that emerged in Chicago in the late 1990s. Originally produced as the accompaniment for a distinctive mode of dance—also called footwork or footworking—Footwork is a highly kinetic genre that thrives in a liminal space of perception.

Our project seeks to explore the capabilities of cutting-edge machine learning (ML) techniques for real-time sound analysis in the context of a new composition. Led by Martin Daigle, Pauline Patie, and Emmanuel Lacopo, the project features software such as Rodrigo Constanzo’s SP-Tools to provide real-time instrumental augmentation for the percussion and guitars. Furthermore, it will be used to control real-time interactive visual projections

Amongst Luvale communities in Zambia, drummers tune their instruments by applying ulezo (tuning paste) and heat. In addition to adjusting pitch, this two-step process dramatically impacts timbre. The purposes of this project are to (1) explore the timbral effects of tuning by analyzing audio descriptors generated in the Timbre Toolbox and (2) map these acoustic descriptors onto Luvale timbre descriptors. A data set of individual notes was obtained from field recordings of multiple dance troupes at various stages of the tuning process.

In this research-creation project we wish to use experimental designs from timbre perception research to generate data models that will inform the creation of new compositions for an atypical instrumental duo. We wish to test whether research methodologies can be adopted for use in perceptually informed orchestration/composition practice.

This idea arose from the participants seed idea presented during the CORE Ensemble Project 2021-2022. While one was interested in timbral imitation and emergent timbre, the other used the inflections of Cantonese language to derive musical material. The proposed project aims at combining these two ideas into one, using a more science-supported approach this time.

Compositions for a solo Chinese instrument with the Western orchestra require the composer to consider ways in which orchestration techniques might function in different ways so as to either bring out the solo instrument or to have it blend with the orchestra.

By exploring the relationship between spatial distance and choral blend, this project aims to be the initial step in creating a body of research within ACTOR to evaluate choral blend from the perspectives of both singers and listeners.The results of these studies could be compared in order to understand similarities and differences between two types of sectional performers.

Our research-creation project aims to integrate acoustic drums and various electronics in a semi-structured unconventional composition process. The bottom-up approach will allow both parties to be curious and create a novel piece featuring new timbres and new orchestration applications for the drum kit with electronics. The tools used for this research creation are standard drum kit, microphones, percussion sampling pads, and computer with Max MSP.