www.kerrylhagan.net Open in urlscan Pro
69.163.182.101  Public Scan

Form analysis
0 forms found in the DOM

Text Content

selected works events selected publications bio contact
Kerry is occasionally on
Facebook
Twitter
Soundcloud
Kerry L. Hagan
Bio
Kerry is a composer and researcher working in both acoustic and computer media.
She develops real-time methods for spatialization and stochastic algorithms for
musical practice. Her work endeavours to achieve aesthetic and philosophical
aims while taking inspiration from mathematical and natural processes. In this
way, each work combines art with science and technology from various domains.
Her works have been performed in Asia, Australia, Europe and the Americas.
Kerry performs regularly with Miller Puckette as the Higgs whatever, and with
John Bowers in the Bowers-Hagan Duo. In 2022, the Higgs whatever and the
Bowers-Hagan Duo joined forces as the HPB Trio at Piksel Festival in Bergen
Norway.
As a researcher, Kerry's interests include real-time algorithmic methods for
music composition and sound synthesis, spatialization techniques for 3D sounds
and electronic/electroacoustic musicology. Her research has been presented in
conferences around the world.
In 2010, Kerry led a group of practitioners to form the Irish Sound, Science and
Technology Association, where she served as President until 2015. Kerry was a
Lecturer at the University of Limerick in the Digital Media and Arts Research
Centre (2007-2023), where she founded the Spatialization and Auditory Display
Environment (SpADE).
Currently, she is an Associate Professor at the University of Illinois
Urbana-Champaign and President of the International Computer Music Association.
Upcoming
 * 17.12.2024. 15:00 UTC. New work for film, at the Indie Cork Film Festival at
   The Pavilion, Cork
 * 09-12.01.2024. the Higgs whatever at Qualcomm Institute at University of
   California, San Diego.
 * 21.02.2024. Memento Mori to be performed in the Loudspeaker Orchestra Concert
   Series, at St Alfege Church, Greenwich UK

Recent
 * 27.09.2023. the Higgs whatever at Virginia Tech for the New Music +
   Technology Festival
 * 19.11.22. HPB Trio at Piksel Festival, Bergen Norway. (Video - 242MB)
 * 16-20.11.22. Pillow Talk sound installation with Miller Puckette at Piksel
   Festival, Bergen, Norway.
 * 15-16.10.22. Sounding Ennis sound installation with Nicholas Ward at PIMA!
   Fest, Ennis, Ireland.
 * 03-09.07.22. Memento Mori at ICMC 2022, Limerick, Ireland.
 * 20-26.06.22. Memento Mori at NYCEMF 2022, New York City.
 * 10.06.22. 15:30. Puckette and Hagan demo of Pillow Talk (installation work in
   progress) at SMC 2022, Saint-Étienne, France.
 * 02.06.22. 14:00. 'Electronics as a member of the ensemble'. Talk at Digital
   Art In Ireland Symposium, Cork, Ireland.
 * 12.05.22. 11:00. Memento Mori at NoiseFloor 2022, Staffordshire University,
   Stoke-on-Trent, UK.
 * 11.09.21. 11:00 (Beijing). Self-Portrait improvised electronics at Marathon
   Live Jam, part of 2021 Design Day .
 * 27.07.21. 18:40 UTC. Puckette, Hagan. "Hand to Gesture Timbre Converter" ICMC
   2021 paper presentation.
 * 24.07.21. 18:00-20:00 UTC+1. Tides: ISSTA Anthology Launch party - panel
   discussions. More information at issta.ie.
 * 06.06.21. 12:00 ET. Roundtable discussion on networked music-making and
   acoustic ecology as part of Vocal Constructivist Online Festival: 'through
   the square window' (June 5-6, 2021).
 * 12.05.21. 18:00 UTC+1. Presentation: Spatial Audio Composition in the time of
   Covid: One Composer's Perspective as part of the Spatial Audio Meetup May
   organised by the Norwegian Center for Technology in Music and the Arts and
   Mariam Gviniashvili.
 * 30.04.21 17:30 (UK). Live set as part of Facebook Live DISCO Fridays.
 * 25.04.21. 12:30 ET (UTC-4). All You Need Is Lunch, the Higgs whatever at the
   SEAMUS Digital Conference.
 * 22.04.21. 20:00 UTC+1. Memento Mori (2021), premiere at BEAST FEaST 2021,
   Thursday Concert 2. To be streamed on Youtube (link on Facebook Event page).
   

Selected Works
2021. Memento Mori, binaural real-time Pd composition.
2019. Transmogrificaciones Incesantes, four-channel fixed medium electroacoustic
work for Festival Atemporánea, Buenos Aires, Argentina.
2019. Agus í á bá,, for RTÉ National Symphony Orchestra and electronics.
2018. remnant, sound installation and optional performance (alto flute,
trombone, percussion, piano) by Miller Puckette and Kerry Hagan.
2018. Improvisations, improvised electronics by John Bowers and Kerry Hagan.
2017. Who Was That Timbre I Saw You With?, improvised electronics by Miller
Puckette and Kerry Hagan.
2017. plangent/perdu, Pd composition for WFS or high-density loudspeaker array.
2017. wave/particle for bass, A clarinet and computer.
2017. nyx, real-time Pd composition, stereo or multichannel.
2016. resolution, Pd composition for the Cube at the Moss Center for the Arts,
Virginia Tech.
2016. Homage to Saariaho, laptop improvisation by Kerry Hagan.
2016. Hack Lumps, improvised electronics by Miller Puckette and Kerry Hagan.
2015. s/d, real-time Pd composition, multichannel.
2014. requiem for B-flat clarinet and computer.
2014. Cubic Zirconia, fixed medium (124 channels) for the Cube at the Moss
Center for the Arts, Virginia Tech.
2012. ...of pulses and times..., real-time Pd composition.
2011. (bass) for bass.
2011. Morphons and Bions, real-time Pd composition, multichannel.
2007. ophelia's revenge for violin duet and computer.
2002. t.R.,m.f.a.c-c. for cello.
2000. consacré à for piccolo.
2000. (duo) for percussion and cello.
1999. gewidmet for violin.
×
Memento Mori
2021. Binaural, real-time Pd composition.
'Remember that you die.'
Although there are many objets d'art and musical forms arising from the macabre
reminder of death, the Renaissance practice of the memento mori or vanitas still
life is, perhaps, the most replete with symbolism. Common images include the
obvious, such as skulls or skeletons, but also represent other fleeting, fading
themes: decaying fruit, cut flowers, recently snuffed candles (the smoke still
present but the flame extinguished), hourglasses in mid-count, soap bubbles
floating above a skull, spilled chalices, and so on.
In this work, the entire form derives from a near-infinite reverb of a complex,
layered impulse. The impulse lasts mere 10ths of a second, but the remainder of
the work is the prolonged reverberation tail, freezing the impulse in time. As
the piece dies away, elements of the complex sound swell in and out of the
foreground, allowing time to investigate each symbol in the still life.
A Pure Data patch generates Memento Mori in real time, which is the preferred
presentation of the work. Random processes select the layers to emerge or fade
throughout the course of the work. Though no element moves through space, random
draws determine the fixed location of each layer at the start of the patch.
Therefore, each live instantiation of the work is different than previous
performances.
Downloads
 * Binaural recording (.wav)
 * Pd patches and programme note

×
Agus í á bá, (As she drowned,)
2019. For symphony orchestra and electronics.
The longest river in Ireland, the Shannon, played crucial parts in the history
of Limerick and, of course, the entire Shannon region. The river continues to
impact local economy and culture, from power generation to geographical
boundaries. It is a source of unique research opportunities in marine biology.
And its course from the Shannon Pot to the Atlantic Ocean passes through many
regions and cultures of Irish life. The river was named for Sionann, the
granddaughter of Lir. In different versions of the story, Sionann died as a
result of reaching for the fruit of knowledge. Whether she ate the fruit
directly, whether it was a berry or something else, or whether Sionann ate a
salmon that ate a berry is a matter of who tells the tale. Whether it was
because women were banned from knowledge, or all humans were banned, or whether
Sionann herself was cursed, the consequences of gaining her knowledge caused the
waters to overflow, or perhaps break a dam of some kind, and wash her out to
sea. In contrast, Fionn mac Cumhaill became a great warrior for similar actions.
Whether the Shannon river already existed, or whether this flood created the
Shannon river, Sionann's tale gave the Shannon river its name. Whether it was
the fruit she ate or some demi-god-like powers of a granddaughter of Lir,
Sionann may have infused the river with the source of life and prosperity in the
Shannon region. Depending on the version of the tale, the story leads to
fascinating observations on water myths, the feminine in mythology, the feminine
in post-Christian Ireland and a myriad of thought-provoking questions on
religion, gender and origin. If there is any story to be told, the title and the
ending of the piece is the point: the story of Sionann continues, both drowned
and still drowning. And, the story of the Shannon region is ongoing, more of a
question than a conclusion.
Acknowledgements
Jonathan O'Neill, Síle de Cléir, Nora Ní Mhurchu (agus a máthair): Thug siad
cúnamh dom le gramadach na Gaeilge. Is liomsa amháin aon bhotún atá ann.
My colleagues at the University of Limerick, the folks at The Contemporary Music
Centre (Ireland), Dave Fennessy, Steve Ashby and Erik Gustafsson: Agus í á bá,
would not exist if not for their time, resources and assistance.
Go raibh míle maith agaibh.
Downloads
 * Stereo recording (.wav)
 * Video by RTÉ National Symphony Orchestra of the Composer Lab broadcast,
   featuring Daniel McDermott, Peter Fahy, Kerry Hagan and Sam Perkin
 * Score (.pdf)

×
Transmogrificaciones Incesantes
2019. Four-channel fixed medium.
En ocasión del Festival Atemporánea 2019, compuse esta obra como tributo a mis
amigos argentinos y con el fin conectar algunas impresiones sonoras de mis
países con Argentina. Los sonidos provienen de lugares en Irlanda y se combinan
con sonidos sintetizados que se transforman de uno en el siguiente. Las
transformaciones son un poco extrañas o alquímicas, de ahí el título. Los
elementos se pueden clasificar en sonidos ambientales, modelos estocásticos de
instalaciones de arte sonoro, así como alusiones musicales que tienen relevancia
(velada) para mí y mis enlaces con Argentina a través de mis amistades.
Downloads
 * Coming soon.

×
nyx
2017. Real-time Pd composition for stereo or multichannel.
This generative work can be run automatically or performed live, if desired.
Automatic playback is preferred. Nyx (Night) was the daughter of Chaos, sister
of Erebus (Darkness). Before the world was Chaos, and from Chaos, Nyx and Erebus
were born. Zeus is the son of Nyx. This piece relies on chaos maps to create
timbres and colours of noise. These maps are then passed through phase vocoders,
time stretched and pitch-shifted, and presented against the original sounds.
This work was originally conceived as an etude.
Downloads
 * Pd patch - stereo (.zip)
 * Stereo recording (.wav)
 * Multichannel patches available by request. Contact Kerry for downloads.

×
remnant
2018. Sound installation and optional live performance, Miller Puckette and
Kerry Hagan
Our sound and music installation explores presence and absence by revealing the
acoustic disturbances caused in an interior space when bodies occupy it. Through
sound alone, we can sense the presence of others by the subtle changes their
bodies make to the environment. In this work, we use those sonic disturbances to
make an oblique statement of presence and absence, making the absent bodies
themselves audible as acoustic reflections and shadows. The work is primarily an
installation intended for MISE-EN_PLACE Bushwick. However, its construction
allows it to be transported to other locations, making MISE-EN_PLACE Bushwick
present in other places. It also enables members of ensemble mise-en to perform
with their own shadows.
Acknowledgements: The instrumental recordings for the installation were made by
Kelley Barnett (Alto Flute), Mark Broschinsky (Trombone), Josh Perry
(Percussion) and Yumi Suehiro (Piano). Impulse responses were recorded from
Kelley Barnett, Mark Broschinsky and Josh Perry. We would like to gratefully
acknowledge the time and effort on the part of the musicians. We would also like
to thank Moon Young Ha, Jordann Davis and Kelley Barnett for all their help
during our residency at MISE-EN_PLACE Bushwick.
This installation can be installed in any gallery or performance space. Download
all necessary materials below.
Downloads
 * Dropbox link for patches, Score, Instructions Warning: 584.7 MB (.zip)
 * Video, premiere and opening, MISE-EN_PLACE Bushwick (.mp4)
 * Score only (.pdf)

×
Improvisations
2018. Improvised duo, John Bowers and Kerry Hagan
John Bowers and I hung out in Newcastle for a few months, designing our own
improvisation instruments with laptops and a variety of old, new, and
off-the-shelf interfaces. Then we took some time to record a few performances.
We're using chaos, cellular automata, non-linear feedback oscillators (by Bowers
and Miller Puckette), and a variety of other crazies.
We're always looking for a place to hang out and make noise. If you're
interested in having us come to you, or, if you're interested in joining us
somewhere to make noise together, drop me a line.
Downloads
 * Stereo (.wav) 20:06
 * Stereo (.wav) 11:51
 * Stereo (.wav) 11:00
 * Stereo (.wav) 8:49

×
Who Was That Timbre I Saw You With?
2017. Improvised duo, Miller Puckette and Kerry Hagan
The current project of the Higgs whatever. See more here.
×
plangent/perdu
2017. WFS or multichannel, Pd composition.
plangent/perdu is a real-time Pd composition inspired by the spatial
possibilities afforded by WFS. There is one source sound created with the z12
algorithm (see Puckette 2015, SEAMUS) premiered in the work Cubic Zirconia
(2014). However, this sound is 'invisible' throughout the majority of the piece.
Instead, it is the source for 8 different resonators, all different processes
that can only make sound as a consequence of an input source. At first, we hear
the source sound exposed. But it soon disappears, and all we hear are the
resonators responding to an unheard influence.
In my previous works, I aimed to create an immersive experience of frenetic but
incoherent motion around the listener. However, WFS permits sound to move
through or next to the listener. So this piece explores placing sounds in
various points of space, still or moving.
Later, I needed to translate plangent/perdu for the 124 speaker system at the
Cube at Virginia Tech. Both the technology and aspects of the spatial aesthetics
had to change. The 8-channel version is a re-spatialized version of the Cube
performance, which can be recorded to fixed media.
The title comes from the concept of the work: plangent, English for resonant or
ringing, and perdu, originally a French word meaning 'lost' that was absorbed
into English and changed to mean 'hidden'.
Downloads
 * Full quality stereo mix (.wav)

×
wave/particle
2017. Bass, clarinet in A, and computer.
wave/particle came about as a response to the challenge of writing for Annick
Odom, a dual instrumentalist on double bass and clarinet. In working to create a
unified work with such drastically different instruments, played by the same
performer, images of mathematical representations of light as both wave and
particle came to mind. Given the resonances between waves and particles in
texture-based music, the idea for the work became a re-construction of a
starting phrase. The coda of this work is an improvised phrase originally used
in another composition. That phrase is deconstructed, rearranged and stretched
within each section, sometimes presented as 'particles', sometimes as 'waves'.
However, the deconstruction is presented in reverse, from the most remote
articulation of the phrase, ending in the final reveal of the line unaltered.
Downloads
 * Full score (.pdf)
 * Performer's score (.pdf)
 * Pd patch (.zip)
 * Stereo recording (.wav) with Annick Odom on double bass and A clarinet.

×
resolution
2016. 64-channel, Pd composition.
resolution was the second work I composed for the Cube at Virginia Tech. Unlike
Cubic Zirconia, it has 32 independent channels assigned to multiple speakers in
the Cube.
The word resolution takes on several nuances depending on its context. In
literature and musical form, it means the ending of a narrative. In musical
phrasing, it can mean the way in which a statement cadences. In media,
resolution means the quality of the sound or image, determined by the number of
bytes and the size of grain or pixel. This piece, resolution, resolves in pitch,
rhythm, spatialization and granularity in one long textural change. The sounds
and the piece are realized in real-time in Pd. The piece can be presented as a
fixed-medium work (a studio realization) or be performed live. Ideally, the
piece requires at least one tier of elevated speakers.
Downloads
 * Stereo version (.wav)
 * 16-channel version (.zip) - folder of 16 mono aiffs
 * 16-channel version (.zip) - folder of 32 mono aiffs

×
Homage to Saariaho
2016. Improvised laptop composition.
Inspired by the work of Kaija Saariaho, Homage to Saariaho blends textures and
long gestures using random processes and spectral information from sieves and a
multiphonic flute tone. It also uses low frequency noise for different timbres.
Some of the processes are controlled by typed-in keyboard values. The performer
types portions of a text taken from the liner notes of Maa in four languages
discussing Saariaho's use of timbre and noise.
This piece was composed with a series of actions that control parameters of
fixed and random gestures and textures. Following the score, one could perform
this work as originally composed.
However, once the sounds and results of different actions become familiar, this
work may be entirely improvised by the performer.
Downloads
 * Pd patch (.zip) - includes program notes.
 * Stereo recording (.wav) - recorded May 31, 2017.

×
Hack Lumps
2016. Improvised electronics by Miller Puckette and Kerry Hagan.
Hack Lumps is an improvised duo with three unstable oscillators, 72 stochastic
samplers and eight loudspeakers, which form a single musical system, in which
one player's influence is gestural and the other's textural. These opposing
origins combine to form an intricate, inter-related instrument. Built into this
instrument is a moderate degree of unpredictability and instability, so the
musicians are also contending with the dynamics of the system itself. The
instrument variably lends itself to making large formal shapes and disruptive,
unexpected discontinuities. Real-time spatialization clarifies the sonic results
and immerses the listener in the musical processes.
Downloads
 * Stereo recording (.wav)

×
s/d
2015. Real-time multichannel Pd composition.
s/d is a real-time Pd composition that continues previous threads of musical
exploration while introducing new sound synthesis methods. Kerry works with
"textural composition," an aesthetic that relies entirely on large, static sound
masses consisting of inner details rather than perceptible sound objects.
Similarly, spatialization techniques suggest high degree of sonic motility with
little to no perceptible spatial trajectories or paths of sounds.
s/d utilizes an algorithm designed in collaboration with Miller Puckette, first
used in Cubic Zirconia (2014). These processes are dealt with in depth in
Puckette's paper, "Maximally uniform sequences from stochastic processes."
(SEAMUS 2015). s/d also uses a new synthesis method developed by Miller
Puckette: coupled oscillators created through non-linear feedback. By sending
impulses into the oscillators, complex and rich sonorities can emerge. s/d uses
12 crafted timbres from the oscillators, which are triggered by the z12 outputs
and impulse chains.
The piece follows a fixed form, where larger shapes are the unchanging
scaffolding. However, random and stochastic processes make moment-to-moment
decisions, meaning that each performance of the piece is unique while retaining
a consistent musical identity.
Downloads
 * Pd patch (.zip) - contains 4 and 8 channel versions
 * Stereo recording (.wav)

×
requiem
2014. B-flat clarinet and computer.
requiem was started in 2004 in Paris. For such a short work, it has probably
been the most difficult to write. After living on a shelf for a few years, it
was further developed in San Diego, California. Again, it mouldered on a back
shelf until 2013. It was finally completed in Limerick, Ireland in 2014.
The work was originally intended as a tribute to my father, but the time it
needed to grow has made it more of a musical exploration of loss and remembrance
in much more general and less personal ways.
The materials and clarinet-computer interaction suggest echoes and memories of
itself. The clarinet part is almost choreographed instead of notated. Specific
fingerings and performance techniques are given, regardless of the resulting
pitches or sounds. So different instruments will sound unique. This means that
every performer will bring a particular sound to the piece. These choreographed
passages are intended to act as interruptions or thin echoes of the more
conventional notes. The computer part both supports the clarinet material as
accompaniment and echoes the clarinet material.
Downloads
 * Score (.pdf)
 * Pd patch (.zip)
 * Stereo recording (.wav) with Deirdre O'Leary on B-flat clarinet.

×
Cubic Zirconia
2014. 124-channel, fixed medium electroacoustic music.
Cubic Zirconia is a work composed specifically for the Cube at Virginia Tech.
Miller Puckette proposed an alternative to Markov chains, the z12 algorithm. z12
outputs chains of 12 numbers using percentages of previous outputs. In
collaboration, Puckette and Hagan developed a synthesis method using z12. The
processes are dealt with in depth in Puckette's paper, “Maximally uniform
sequences from stochastic processes.” (SEAMUS 2015)
This work continues Kerry's work with textural composition, an approach to
computer music aesthetics that relies on large sound masses developing intricate
inner details over time with little to no gestural content. The sound object as
a unit of sound is still relevant, but the object itself is a meta-object that
the audience inhabits and experiences from within. Similarly, the spatialization
is designed to immerse the audience in the object. It creates maximum motility
without relying on trajectory-based mimetic movement.
Downloads
 * Stereo version (.wav)
 * Binaural recording (.wav) - live recording in the Cube at Virginia Tech
 * 8-channel version (.zip) - contains 8 mono .aiff files

×
...of pulses and times...
2012. Real-time Pd composition.
...of pulses and times... was inspired by interactions with students at the
University of Limerick. The work is an exploration of pulse-based composing
using closely related metric modulations. Many aspects of the piece are created
through stochastic processes, but the performer can control the parameters. The
piece can also be automatically generated with one click.
Downloads
 * Stereo version (.wav)
 * Pd patch (.zip)

×
(bass)
2011. Bass.
I first met Dan Bodwell in Pittsburgh, Pennsylvania in 1992. We lost touch for
many years shortly after that. One day, almost 20 years later, a Dan Bodwell was
lined up to play in Limerick, Ireland. I thought: there is no way it's the same
Dan Bodwell. Of course, it was. Dan asked me for a piece in 1992. I finally
wrote it in 2011.
The recording of (bass) was made by Christopher Williams.
Downloads
 * Stereo version (.wav) - Christopher Williams, bass
 * Score (.pdf)

×
Morphons and Bions
2011. Real-time multichannel Pd composition.
Morphons and Bions is a real-time Pd composition that explores noise-based
synthesis techniques and random processes to create the impression of living
mechanisms. These mechanisms live and grow independently until reaching a
critical mass, when they become a single organism. The morphologically
independent sounds combined with the sounds that behave together as a single
organ give rise to the title. As a real-time piece, the details of each
realisation changes from performance to performance. However, the consistent
timbres and overall form of the work retains the piece's identity.
All sounds in the work are synthesised. The sound sources rely fundamentally on
white noise and digital noise mediated by classical synthesis techniques and
random processes. Since the work is built on a substrate entirely made of noise,
the piece is situated within certain philosophical and aesthetic issues
surrounding noise, its use, and its definition. This piece is not, however,
'noise music.' Despite the acoustic groundings in noise, the sounds exhibit
harmonic and quasi-harmonic behaviors, especially as the sounds develop in the
course of the work. Ultimately, the piece crosses back and forth over the thin
line of “sound” and “noise,” where both are valid musical materials.
Downloads
 * Stereo version (.wav)
 * Binaural recording (.wav) - 32-channel version recorded in the Cube at
   Virginia Tech
 * Pd patch (.zip) - 8 channel version

×
ophelia's revenge
2007. Violin duet and computer.
The violin parts in ophelia's revenge are much like chorused lines of thought,
each reaching the same conclusion in concurrent and parallel fashion. The
computer presents the material from the violins as either a simultaneous
reflection of the violins, slowed and examined more closely, or as distant
reminiscences that, like aftershocks, fade over time. The computer does not
introduce any new timbres; these thoughts come from the same mind that is coming
to one, considered decision.
Commissioned by János Négyesy and Päivikki Nykter, this work for two violins and
computer explores musical suspension. Through a sudden shift in material, echoed
in places by the computer material, the piece runs frantically up a cliff and
jumps off. The moment of time before the fall is frozen, the musical material is
suspended, hovering in air.
Special thanks to Miller Puckette, Christopher Tonkin, and Ben Hackbarth for
assistance and resources. The computer part was realized at the Center for
Research in Computing and the Arts, UC San Diego, California.
Downloads
 * Stereo version (.wav)
 * Score (.pdf)

×
t.R.,m.f.a.c-c.
2002. Cello.
This piece was written for Reynard Rott.
Downloads
 * Stereo version (.wav)
 * Score (.pdf)

×
consacré à
2000. Piccolo.
This piece is part of the dedicated to series, including gewidmet for violin,
tiomnú for clarinet, and dedicated to for Disklavier and computer.
Downloads
 * Stereo version (.wav) - recording on the mmm... CD by Reiko Manabe
 * Score (.pdf)

×
(duo)
2000. Percussion and cello.
(duo) is the first work where I attempted to create a non-normative experience
of musical time and space. By writing for the instruments with pitches and
techniques designed to blur which instrument is creating each sound, very small
pitch and timbre spaces are magnified and frozen for exploration.
The piece was originally composed for Hugh Livingston and Ivan Manzanilla. The
recording provided here is by Reynard Rott and Ivan Manzanilla.
Downloads
 * Stereo version (.wav) - Reynard Rott, cello; Ivan Manzanilla, percussion.
 * Score (.pdf)

×
gewidmet
1999. Violin.
This piece is part of the dedicated to series, including consacré à for piccolo,
tiomnú for clarinet, and dedicated to for Disklavier and computer.
Downloads
 * Stereo recording (.wav) - David Ryther, violin.
 * Score (.pdf)

previous play next stop

mute max volume

00:00
08:42
repeat shuffle
 * ×Memento Mori - binaural
   Kerry Hagan
 * ×Agus í á bá,
   RTÉ National Symphony Orchestra, Gavin Maloney cond.
 * ×plangent/perdu - stereo version
   Kerry Hagan
 * ×resolution - stereo version
   Kerry Hagan
 * ×Homage to Saariaho
   Kerry Hagan
 * ×Hack Lumps
   Miller Puckette & Kerry Hagan
 * ×s/d - stereo version
   Kerry Hagan
 * ×requiem
   Deirdre O'Leary, clarinet; Kerry Hagan, computer
 * ×Cubic Zirconia - stereo version
   Kerry Hagan
 * ×...of pulses and times...
   Kerry Hagan
 * ×(bass)
   Christopher Williams, bass
 * ×ophelia's revenge
   János Négyesy, Päivikki Nykter, violins; Kerry Hagan, computer
 * ×t.R.,m.f.a.c-c.
   Reynard Rott, cello
 * ×(duo)
   Reynard Rott, cello; Ivan Manzanilla, percussion
 * ×gewidmet
   David Ryther, violin

Update Required To play the media you will need to either update your browser to
a recent version or update your Flash plugin.
Selected Publications
 1.  McCarthy, M; Hagan, K. 2023. "Objetos queer, una exploración de los
     artefactos desde las prácticas artísticas." Accesos, no 6.
 2.  Puckette, M; Hagan, K. 2023. "Post-mix Vocoding and the making of All You
     need Is Lunch."20th Sound and Music Computing Conference, SMC 2023, p
     222-226.
 3.  Puckette, M; Hagan, K. 2022. "PD on and IoT-Class Processor." 19th Sound
     and Music Computing Conference, SMC 2022, p 683-684.
 4.  Hagan, K. 2020. "Seeds and Mutations: Connections and Divergences in the
     Materials of Unsuk Chin's Xi." in Between the Tracks: Musicians on Selected
     Electronic Music. Puckette, M; Hagan, K, eds. Cambridge: MIT Press.
 5.  Puckette, M; Hagan, K. eds. 2020. Between the Tracks: Musicians on Selected
     Electronic Music. Cambridge: MIT Press.
 6.  Hagan, K. 2019. "The Matter of Space." in Roger Reynolds Tributes. Adam
     Greene, ed. San Diego: Senza Misura Music Publishing, 53-66.
 7.  Hagan, K. 2019. "Book review: The Oxford Handbook of Algorithmic Music."
     Organised Sound 24(1): 109-110.
 8.  Bowers, J; Hagan, K. 2019. "Improvisation at the Edge of Chaos: A
     Worked-Through Design and Performance Practice for Electronic
     Improvisation." International Computer Music Conference-New York City
     Electronic Music Festival (in publication).
 9.  Puckette, M; Hagan, K. 2019. "Remnant: exploring presence and absence
     through acoustic disturbances in space." International Computer Music
     Conference-New York City Electronic Music Festival (in publication).
 10. Hagan, K. 2017. "Textural Composition: Aesthetics, Techniques, and
     Spatialization for High-Density Loudspeaker Arrays." Computer Music Journal
     41(1): 34-45.
 11. Hagan, K. 2016. "Book review: Broadening Horizons." Organised Sound 21(3):
     274-275.
 12. Hagan, K. 2016. "The Intersection of 'Live' and 'Real-time'." Organised
     Sound 21(2): 138-146.
 13. Hagan, K. 2014. "How Live is Real-Time?" Proceedings of the Electroacoustic
     Music Studies Conference, Berlin.
 14. Hagan, K. 2013. "The Noise of Morphons and Bions." Proceedings of the
     International Computer Music Conference, Perth, 376-379.
 15. Hagan, K. 2012. "Different Walks for Different Talks: Finding the
     Meaningful in Electroacoustic Music." Proceedings of the Electroacoustic
     Music Studies Conference, Stockholm.
 16. Hagan, K. 2012. "Aesthetic and Philosophical Implications of Noise in
     Morphons and Bions (2011)." Proceedings of the Music, Mind, and Invention
     Workshop, New Jersey.
 17. Hagan, K. 2011. "Aesthetic Considerations in Algorithmic and Generative
     Composition." Chaos Theory: Modeling, Simulation and Applications. Skiadis,
     CH, Dimotikalis, I, and Skiadas, C, eds. London: World Scientific Press,
     183-190.
 18. Hagan, K. 2008. "Textural Composition: Implementation of an Intermediary
     Aesthetic." Proceedings of the International Computer Music Conference,
     Belfast, 509-514.
 19. Hagan, K. 2008. "Textural Composition and its Space." Proceedings of the
     Sound and Music Computing Conference, Berlin, 100-106.
 20. Hagan, K. 2005. "Genetic Analysis of Xenakis' Analogique B." Proceedings of
     the Electroacoustic Music Studies Conference, Montreal.

Kerry L. Hagan
Contact
Want patches in a different speaker layout? Want a recording in a different
format? Need a score? Feel free to contact me.
 * Email: kerry@illinois.edu