EDO Artifacts

Gregg Oliva

Proceedings of the International Conference on New Interfaces for Musical Expression

Abstract

EDO Artifacts is a live-performance piece for a computer-sequenced modular synthesizer to explore equal division of the octave (EDO) tuning systems. The composition is written prior to performance using the ChucK music programming language. During the performance, a computer running this program interfaces with the modular synthesizer, converting signals from the code into voltage to drive oscillators and amplifiers in the system. The flexibility offered by the programmatic composition supports complex arrangements of phrases, sections, and modulating tuning systems, while the modular synthesizer provides the performer precise control over the sound through real-time manipulation of timbre-shaping parameters. In this way, ChucK acts as the “orchestration” or the “brain”, whereas the modular synthesizer is the “instrument” or the “body” of the piece. There are four sections—labeled as fragments—each written using a different EDO tuning: 5EDO, 7EDO, 31EDO, and 15EDO, respectively. Each tuning has been selected to suit the stylistic and textural qualities of its respective fragment, shaping both the compositional approach and the resulting sonic character. The fragments are purposefully brief, serving as previews of the musical potential of each tuning.

Citation

Gregg Oliva. 2025. EDO Artifacts. Proceedings of the International Conference on New Interfaces for Musical Expression. DOI: 10.5281/zenodo.17801099 [PDF]

BibTeX Entry

@inproceedings{nime2025_music_20,
 abstract = {EDO Artifacts is a live-performance piece for a computer-sequenced modular synthesizer to explore equal division of the octave (EDO) tuning systems. The composition is written prior to performance using the ChucK music programming language. During the performance, a computer running this program interfaces with the modular synthesizer, converting signals from the code into voltage to drive oscillators and amplifiers in the system. The flexibility offered by the programmatic composition supports complex arrangements of phrases, sections, and modulating tuning systems, while the modular synthesizer provides the performer precise control over the sound through real-time manipulation of timbre-shaping parameters. In this way, ChucK acts as the “orchestration” or the “brain”, whereas the modular synthesizer is the “instrument” or the “body” of the piece. There are four sections—labeled as fragments—each written using a different EDO tuning: 5EDO, 7EDO, 31EDO, and 15EDO, respectively. Each tuning has been selected to suit the stylistic and textural qualities of its respective fragment, shaping both the compositional approach and the resulting sonic character. The fragments are purposefully brief, serving as previews of the musical potential of each tuning.},
 address = {Canberra, Australia},
 articleno = {20},
 author = {Gregg Oliva},
 booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
 doi = {10.5281/zenodo.17801099},
 editor = {Sophie Rose and Jos Mulder and Nicole Carroll},
 issn = {2220-4806},
 month = {June},
 note = {Live Performance},
 numpages = {4},
 pages = {70--73},
 presentation-video = {https://www.youtube.com/watch?v=cg4VUd2ON9E},
 title = {EDO Artifacts},
 track = {Music},
 url = {http://nime.org/proceedings/2025/nime2025_music_20.pdf},
 urlsuppl1 = {http://nime.org/proceedings/2025/nime2025_music_20_file01.mp4},
 year = {2025}
}