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Exploring Rhythmic Overtones: Bridging LEGO and Music in Generative Sculptures

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Delve into the innovative realm of rhythmic overtones and their connection to LEGO pieces through ongoing research. Alex Allmont, a full-time coder and part-time PhD candidate, investigates how we perceive harmonic intervals and polyrhythmic relationships. This practice-based exploration focuses on generative musical sculptures and the emergent nature of rhythm, pushing creative boundaries. Join Allmont on a journey of improvisation, performance, and the balance of complex sound interactions, as detailed on www.alexallmont.com.

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Exploring Rhythmic Overtones: Bridging LEGO and Music in Generative Sculptures

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  1. Alex Allmont Rhythmic Overtones Motives behind LEGO pieces and ongoing research

  2. Backstory • Generative musical sculptures, BEAM, Kinetica All Work and No Play Too Much Coffee Clash of the Fractions • Full time coder and part time practice-based PhD – interacting and engaging with rhythm www.alexallmont.com

  3. 10 minute dash • MA • ideas behind practice, developing practice • PhD • questions, shaping ideas, aims • Demo • In progress rhythmic ideas www.alexallmont.com

  4. MA – developing practice • Honing in on core fascinations • Slowing - traffic calming, walking • Emergence - synchronicity, perception • Constraints - forcing alternate thought process • Exploratory sound work • Noise  beat frequencies • Group percussion • Clapping • 7 Breakfasts www.alexallmont.com

  5. MA – development pieces • LEGO work (see vimeo) • Missing Link • Music of the Gears • Plaiting machine • A rushed summary • practice focuses on sustaining apparent moments of emergence though constraints that slow or focus attention. www.alexallmont.com

  6. PhD – questions • Is there a connection between how we perceive harmonic intervals and polyrhythmic equivalents? • e.g. perfect 5thvs 3:2 polyrhythm • explore more complex ratios in rhythm • Can the meditation of phased performance be promoted to improvisation? • Reich, gamelan, traditional drumming  ways of indirectly interacting with rhythm www.alexallmont.com

  7. PhD - rhythmic ‘intervals’ • Tempo equivalents of perfect 4th, 5th and octave: 1:1 4:3 3:2 2:1 8:3 6:2 4:1 • these familiar jazz/latinpolyrhyhms as starting point www.alexallmont.com

  8. PhD – intervals in practice • Pythagorean Polyrhythmic Piano • interact with intervals • come and try it! • Other installations • Ride with Me • Clash of the Fractions • Too Much Coffee www.alexallmont.com

  9. PhD – sustaining attention • ‘Tipping point’ • Joke: setup punchline • Nature: noise  stability • Music: tension  release • Constantly balancing • Syncopation: moving rhythm • Phasing: Reich • Play: complex / simple www.alexallmont.com

  10. PhD – revised aims • Develop drum equivalents of overtones / timbre, shaping sounds • Tuvian throat singing (playing with resonance) • analogue synthesizers (e.g. drum equivalent of Josh Wink twiddling, dubstep wobbles?) • Pushing rhythmic palette: • Pythagorean / whole / tempered / dissonance • In summary: indirect, playful rhythmic interactions for both audience and performer www.alexallmont.com

  11. Demo • Polyrhythmic group jam prototype www.alexallmont.com

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