Tod Machover

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Tod Machover in Barcelona 2007

Tod Machover (born November 24, 1953, in Mount Vernon, New York), is a composer and an innovator in the application of technology in music. He is the son of Wilma Machover, a pianist and Carl Machover, a computer scientist.

He was named Director of Musical Research at

Pulitzer Prize in Music for his opera Death and the Powers
.

Education

He attended the

University of California at Santa Cruz in 1971 and received a BM and MM from the Juilliard School in New York where he studied with Elliott Carter and Roger Sessions (1973–1978). He also started his Doctoral studies at Juilliard before being invited as Composer-in-Residence to Pierre Boulez's new Institut de Recherche et Coordination Acoustique/Musique (IRCAM
) in 1978.

History

In the fall of 1978, Tod Machover arrived at

percussion, strings, even the act of conducting, with the goal of developing and implementing new technology in order to expand the function of the musical instruments and their performers. He propelled forward-thinking research in the field of musical performance and interaction using new musical and technological resources. Originally concentrated to the enhancement of virtuosic performance, research has expanded in a direction of building sophisticated interactive musical instruments for non-professional musicians, children, and the general public. He premiered 'Brain Opera' in 1996, an interactive music experience with hyper instruments that aimed at making every human being into a musician.[1]

Hyperinstruments

Tod Machover of MIT Media Lab demonstrated the sound-creating Hyper-Glove while conducting musicians at the 1990 CyberArts International festival.

Hyperviolin

Basically an electric violin, audio output provides raw material for real-time timbre analysis and synthesis techniques. Coupled with an enhanced bow (see Hyperbow), measured properties of both the audio output of the instrument and the bowing gesture of the player create data which controls aspects of the resulting amplified sound.

Hypercello

In addition to bow pressure and string contact, wrist measurements and left-hand fingering-position indicators create measurements which are evaluated and processed in response to the performance.

Hyperbow

Main article: Hyperbow

Bowing parameters (speed, force, position) are measured and data is processed to create an interaction between performance properties and audio output. Different types or styles of bowing create complex calculations which are conducive to the performance and manipulation of larger structures and compositional shapes.

Hyperpiano

Max/MSP
processes as accompaniment and augmentation of keyboard performance.

Stage works

Compositions

  • Ye Gentle Birds (1979) for
    wind ensemble
  • Fresh Spring (1977) for
    chamber ensemble
  • With Dadaji in Paradise (1977-'78, rev. 1983) for solo cello
  • Two Songs (1978) for soprano and chamber ensemble
  • Concerto for Amplified Guitar (1978) for amplified acoustic guitar and large chamber ensemble
  • Deplacements (1979) for amplified guitar and computer-generated tape
  • Light (1979) for
    chamber orchestra
    and computer electronics
  • Soft Morning, City! for soprano, double bass, and computer-generated tape
  • Winter Variations (1981) for large chamber ensemble
  • String Quartet No. 1 (1981)
  • Fusione Fugace (1981-'82) for keyboard, two specialized interfaces, and live 4X digital synthesizer
  • Chansons d'Amour (1982) for solo piano
  • Electric Etudes (1983) for amplified cello, live and pre-recorded computer electronics
  • Spectres Parisiens (1983-'84) for
    chamber orchestra
    and computer electronics
  • Hidden Sparks (1984) for solo violin
  • Famine (1985) for four amplified voices and computer-generated sounds
  • Desires (1985-'89) for
    symphony orchestra
  • Nature's Breath (1988-'89) for chamber orchestra
  • Towards the Center (1988-'89) for amplified flute, clarinet, violin, cello, electronic keyboard and percussion, with five hyperinstrument electronics
  • Flora (1989) for pre-recorded soprano and computer-generated sound
  • Bug Mudra (1989-'90) for two guitars (electric and amplified-acoustic), electronic percussion, conducting
    dataglove
    , and interactive computer electronics
  • Begin Again Again … (1991) for Yo-Yo Ma and hypercello Hyperstring Trilogy
  • "Song of Penance" (1992) for hyperviola and chamber orchestra Hyperstring Trilogy
  • "Forever and Ever" (1993) for hyperviolin and orchestra Hyperstring Trilogy
  • Hyperstring Trilogy (1991-'93, rev. 1996-'97) for hypercello, hyperviola, hyperviolin and chamber orchestra Hyperstring Trilogy
  • Bounce (1992) for hyperkeyboards, Yamaha Disklavier Grand piano and interactive computer electronics
  • He's Our Dad (1997) for soprano, keyboard and computer-generated sound
  • Meteor Music (1998) interactive installation Meteorite Museum
  • "Sparkler" (2001) for orchestra and interactive computer electronics Sparkler
  • "Toy Symphony" (2002/3) for hyperviolin Children's Chorus, Music Toys, and Orchestra Toy Symphony
  • "Mixed Messiah" (2004), a 6-minute remix of Handel's Messiah Mixed Messiah
  • "I Dreamt A Dream" (2004) for youth chorus, piano and electronics [4]
  • "Sea Soaring" (2005) for flute, electronics, and live audience interaction Music Garden
  • ...but not simpler... (2005) Not Simpler
  • Jeux Deux (2005) for hyperpiano and orchestra Jeux Deux
  • Another Life (2006) for nine instruments and electronics
  • "VinylCello" (2007) for amplified cello, DJ and live computer electronics [5]
  • "Spheres and Splinters" (2010) for hypercello, spatialized audio reproduction, and visuals Spheres and Splinters
  • "Open up the House" (2013) for soprano and piano National Opera Center America
  • A Toronto Symphony: Concerto for Composer and City (2013) for orchestra and electronics composed with the citizens of Toronto A Toronto Symphony
  • Festival City (2013) for orchestra and electronics composed with the public for the Edinburgh International Festival
  • Between the Desert and the Deep Blue Sea: A Symphony for Perth (2014) for orchestra and electronics composed with the public for the
    Perth International Arts Festival
  • Breathless (2014) for flute, orchestra and electronics Bemidji Symphony Orchestra
  • Time and Space (2015) for orchestra, inspired by the essays of Michel de Montaigne
  • A Symphony for Our Times (2015) for live piano and recorded orchestra and electronics, for the closing performance of the World Economic Forum Annual Meeting in 2015
  • Restructures (2015) for two pianos and electronics, tribute to Pierre Boulez premiered at the 2015 Lucerne Festival
  • Eine Sinfonie für Luzern (2015) for orchestra and electronics, created with the public for the 2015 Lucerne Festival
  • Fensadense (2015) for ten musicians and hyperinstruments with live electronics, premiered at the 2015 Lucerne Festivalra
  • "Symphony in D" (2015) for orchestra, voice, additional performers and electronics, premiered by the Detroit Symphony[2]
  • "Philadelphia Voices" (2018) for four choirs, to be premiered by Westminster Choir College's Symphonic Choir at the Kimmel Center and Carnegie Hall.

Journal articles

  • Machover, Tod (October 2004). "Shaping Minds Musically" (PDF). BT Technology Journal. 22 (4): 171–179.
    S2CID 8717715. Archived from the original
    (PDF) on 2006-09-07.

Awards

References

  1. ^ Brain Opera premieres at Lincoln Center - MIT News - 24 july 1996 - https://news.mit.edu/1996/opera-0724
  2. ^ "Symphony in D | Symphony in D". Archived from the original on 2015-02-14.
  3. ^ "The Pulitzer Prizes".
  4. ^ "Kennedy Center Award – Opera of the Future". 29 September 2013.
  5. ^ "MusicalAmerica - Composer of the Year".

External links

Wikimedia Commons has media related to Tod Machover.
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