Instrumental.Electroacoustic.

On how listening, abstraction, and SuperCollider code articulate a cyclical process of exploration and refinement that, after many iterations, allows me to find the musical material I am looking for in instrumental and electroacoustic music.

In this workshop, we’ll create systems with simplicity in mind, combining stochastic methods with deterministic (rule-based) approaches to generate notes, chords, rhythms, textures, and waveforms, including a flexible implementation of Iannis Xenakis’s Dynamic Stochastic Synthesis.

The emphasis is on code that can be modified while listening, allowing processes to be shaped and selected by ear in real time.

In this piece, for the first time I am combining the harmonic techniques I developed for my acoustic works with those I use to compose sounds on the computer: sounds created through extensions of Xenakis's stochastic synthesis, filtered to create chordal sequences in just intonation.

This chapter explores stochastic and deterministic algorithms as sources for non-standard sound synthesis and algorithmic composition–approaches like random walks, tendency masks, Xenakis's dynamic stochastic synthesis, bytebeats, and buffer manipulation.

Rather than modeling traditional acoustics, we focus on exploratory techniques that show how these methods—implemented in SuperCollider—can generate complex and richly structured sound worlds.

SuperCollider has been integral to my work for almost 25 years — I use it to compose instrumental and electroacoustic music with stochastic and deterministic algorithms. This presentation covered my experience with SuperCollider.