| | Adam James Wilson |
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Most Recent Positions | | Software Engineer, Temboo, Inc. Researcher, CalIT2 Center for Research in Computing and the Arts Lecturer, Electronic Music, UC San Diego Department of Music |
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Contact Information | | Adam James Wilson URL: http://www.adamjameswilson.info Email: [ click here to send an email ] |
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Research Interests | | Real-time computer improvisation systems, sonification, finite state machine implementations of generative musical processes, Lindenmayer systems, physical modeling, perceptually guided automatic parsing/discovery of high-level musical information, real-time control of compositional and timbral parameters. |
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Education |
Ph.D. 2009 | | University of California, San Diego Music Composition Dissertation: Automatic Improvisation: A Study in Human/Machine Collaboration Committee: Philippe Manoury (chair), Shlomo Dubnov, Miller Puckette, Diana Deutsch, Shahrokh Yadegari |
Teaching Certificate 2005 | | University of the State of New York Permanent New York State Secondary Teaching Certificate, English 9-12 |
M.Mus. 1998 | | University of Illinois at Urbana-Champaign Music Composition Studies in algorithmic composition and computer music with Heinrich Taube. |
B.A. 1997 | | Oberlin College/Conservatory English Literature, Music Composition, Classical Guitar Studies in composition with Randolph Coleman, classical guitar with Stephen Aron. |
| | Masterclasses Composition with Brian Ferneyhough, Ben Johnston, and Pauline Oliveros; guitar with Meliset Abreu, Nicholas Goluses, Bruce Holzman, Ricardo Iznaola, and Benjamin Verdery; improvisation with Joe Maneri. |
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Publications | | Brent, William and Adam James Wilson. Cross-talk: A Shared Parameter Space for Gesturally Extended Human/Machine Improvisation. Proceedings of the Ammerman Center for Arts and Technology 13th Biennial Symposium on Arts and Technology (New London), 2012. |
| | | Wilson, Adam James. Automatic Improvisation: A Study in Human/Machine Collaboration. Diss. University of California, San Diego, 2009. Dissertations & Theses @ University of California, ProQuest. Web. 11 Mar. 2010. |
| | | Wilson, Adam James. A Symbolic Sonification of L-Systems. Proceedings of the International Computer Music Conference (Montreal), 2009. |
| | | Wilson, Adam James. Flocking in the Time-Dissonance Plane. Proceedings of the International Computer Music Conference (Montreal), 2009. |
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Professional Experience |
Software Engineer 2010 – present | | Temboo, Inc. Cloud-based application development on the Temboo platform.
http://www.temboo.com |
Lecturer 2009 | | University of California, San Diego Department of Music, Electronic Music | Lecturer 2009 | | University of California, San Diego Department of Music, Music Theory and Practice V (1900 – 1940) |
Lecturer 2008 | | University of California, San Diego Department of Music, Introduction to Music Composition |
Teaching Consultant 2008 | | University of California, San Diego Center for Teaching Development |
Researcher 2005 – 2009 | | California Institute for Telecommunications and Information Technology Center for Research in Computing and the Arts |
Teaching Assistant 2008 | | University of California, San Diego Department of Music, Fundamentals of Music A |
Teaching Assistant 2008 | | University of California, San Diego Department of Music, Contemporary Music |
Teaching Assistant 2007 | | University of California, San Diego Department of Music, Introduction to Western Music |
Teaching Assistant 2005 – 2007 | | University of California, San Diego Eleanor Roosevelt College, Making of the Modern World Program |
Record Label Manager 2004 – present | | Stone Quarry Records http://www.stonequarryrecords.org |
English Teacher 2003 – 2005 | | Harry S. Truman High School, John F. Kennedy High School, Bronx, NY Taught English 9-12, served as a College Now Program committee member (JFK) |
Software Engineer 2002 – 2006 | | Freelance Worked a variety of contract programming jobs including development of web-based applications using php/mySQL and standalone applications in Java |
Software Test Engineer 1999 – 2002 | | Curl Corporation Developed test suites for the Curl language graphics libraries, authored a GUI-based environment for Curl code assembly |
Teaching Assistant 1998 | | University of Illinois at Urbana-Champaign Department of Music, Music Theory and Practice I |
Teaching Assistant 1997 | | University of Illinois at Urbana-Champaign Department of Music, Music Theory and Practice III |
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Grants, Fellowships and Awards |
2009 | | California Institute for Telecommunications and Information Technology “Music Under the Influence of Computers” concert project co-grantee ($3400.00) |
2009 | | University of California, San Diego Department of Music research project co-grantee; funding provided for materials to build computer-controlled percussion robots and mounting systems ($2000.00) |
2009 | | University of California, San Diego Department of Music recording grant (~$1000.00) |
2008 | | California Institute for Telecommunications and Information Technology Concert project co-grantee; funding provided for personnel, space, and equipment to perform original music for guitar-controlled percussion robots and demonstrate novel incorporated technologies ($3250.00) |
2008 | | University of California, San Diego Department of Music recording grant (~$1000.00) |
2007 | | University of California, San Diego Department of Music recording grant (~$1000.00) |
2005 – 2009 | | University of California, San Diego Teaching fellowship |
2003 | | NYU/Vilar Global Fellowship in the Performing Arts Fellowship competition finalist |
2001 | | Curl Corporation Engineering award for development of the Curl GUI Learning Tool |
1997 – 1998 | | University of Illinois at Urbana-Champaign Teaching fellowship |
1993 | | Oneida Jazz Festival First prize, jazz guitar, Class C schools competition |
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Invited Lectures and Presentations |
Spring 2009 | | “Factor Oracle Construction,” University of California, San Diego, Compositional Algorithms |
Nov. 14, 2008 | | “Experimentation and Sonification,” organized by Discos Invisibles for the Universidad Autonoma de Baja California School of Arts, Taller de Microsonido |
Oct. 28, 2008 | | “Experimentation and Sonification,” Stanford University |
Oct. 27, 2008 | | “Experimentation and Sonification,” University of California, San Diego |
Oct. 26, 2008 | | “Guitar-Controlled Robots,” N Art Magazine television broadcast (part of a feature on researchers at the Center for Research in Computing and the Arts), aired on ABC at 4:00 PM PST |
Winter 2008 | | “Flocks and L-Systems,” University of California, San Diego, Seminar in Advanced Music Technology |
Winter 2008 | | “Introduction to Algorithmic Composition,” University of California, San Diego, Contemporary Music |
Winter 2007 | | “Industrialization and the 2nd Viennese School,” University of California, San Diego, Making of the Modern World VI |
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Professional Society Memberships |
| | American Composers Forum |
| | Electronic Music Foundation |
| | International Computer Music Association |
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Research Projects, Software and Hardware Development |
2009 | | factorOracle, an open-source Max external for real-time factor oracle analysis and recombination of musical materials |
2009 | | phraseDetect, an open-source Max external for real-time detection of musical phrases |
2008 | | Laser performance tracking hardware for use with Max/MSP |
2007 | | Common Lisp libraries for sonification of flocking behavior in the time-dissonance plane |
2007 | | Common Lisp libraries for transformation of idealized L-systems into symbolic music notation |
2006 | | Common Lisp libraries for rationalizing arbitrary logarithmic rhythm changes within common-period nested tempi |
2006 | | Pulse perception tests of long-period (> 20 seconds) asynchronous polyrhythms |
1998 | | Reconstruction of Harry Partch’s 88-string Harmonic Canon I |
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Compositions |
2008 – 2009 | | Scaipthe IV: The Duoquadragintapus, for fretless electric guitar, networked computers, 32 percussion-playing robots, and 5.1-channel real-time electronics, 15'00'' |
2008 | | Scaipthe III: Osmosis, for solo percussion and laser-controlled real-time electronics, 6'00'' |
2007 – 2008 | | Scaipthe II: The Quadropus, for soprano, 4 percussionists, and 8.1-channel electronics, 12'00'' |
2005 – 2006 | | Scaipthe, for 3 marimbas and 3.1-channel electronics, 11'04'' |
2003 | | 7535115, for gamelan, 2 harmonic canon, and 3 guitars, 5'40'' |
2001 – 2002 | | The Backbone Flute, for tape, flute, electric violin, and 19 prepared guitars, 11'15'' |
2000 | | Bleed the Stone, for 4 harmonic canon and 10 guitars, 10'30'' |
1998 | | Man/Superman, for computer-controlled disklavier, 8'00'' |
1998 | | Snake IX, for saxophone quartet, 10'00'' |
1997 | | Renga, for guitar trio, 10'00'' |
1996 | | Sunrise on Bank Street, for large orchestra, 13'00'' |
1994 | | Sextet, for flute, clarinet, F horn, piano, violin, viola, and cello, 7'00'' |
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Discography |
2005 | | 16 Powers and Union (group improvisation), Stone Quarry Records; Arto Artinian - flute, Brad Kemp - bass, Randy Peterson - drums, Jonathan Vincent - Hammond C3 and Mellotron, Adam Wilson - fretless guitar); credits: producer, bandleader, performer, engineer |
2003 | | Zond (compositions by Arto Artinian and Adam James Wilson), Stone Quarry Records; Arto Artinian - flute, piano, electronics; Adam James Wilson - fretless guitar, prepared guitars, guitarimba, 7-string violin, harmonic canon, piano, electronics; credits: producer, composer, performer, engineer |
2003 | | 6000° Kelvin (group improvisation), Stone Quarry Records; Arto Artinian – flute, Tatsuya Nakatani - percussion, Antoine Roney - tenor saxophone, Jonathan Vincent - piano, Adam James Wilson - fretless guitar, 7-string violin; credits: producer, bandleader, performer, engineer |
2001 | | Darker, (group improvisation), Stone Quarry Records; Arto Artinian - flute, Katt Hernandez - violin, Adam James Wilson - harmonic canon; credits: producer, performer, engineer |
2001 | | Unify (group improvisation), Stone Quarry Records; Arto Artinian - flute, Katt Hernandez - violin, Aaron Trant - drums, Adam James Wilson - fretless guitar; credits: producer, bandleader, performer, engineer |
2001 | | Talking Drum (compositions by Chris Brown), Sonore; Arto Artinian - laptop, Michael Klingbeil - laptop, Tim Madden - trombone, Peter Roubal - alto saxophone, Adam Wilson - laptop); credits: performer |
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Press |
Spring 2006 | | Signal to Noise Magazine, Issue 41, CD review (16 Powers and Union) |
Fall 2005 | | Jazz Improvisation Magazine, Volume 6, No. 1, CD review (6000° Kelvin) |
Summer 2005 | | Signal to Noise Magazine, Issue 38, CD reviews (6000° Kelvin, Darker, and Zond) |
2002 | | Cadence Magazine, CD review (Unify) |
Mar. 23, 2002 | | Baltimore Sun,“Critic’s Choice” for Red Room performance with Arto Artinian and Katt Hernandez |
Mar. 16, 2002 | | Improper Bostonian, featured performance: Adam James Wilson Quintet, Zeitgeist Gallery, Cambridge, MA |
2002 | | FM 90.3 WHCR, Harlem Community Radio, on-air interview and performance (music from Darker), 2002 |
2002 | | FM 90.3 WHCR, Harlem Community Radio, on-air interview and music broadcast (Unify), 2002 |
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Computing | | C, Java, php, Python, mySQL, SVN, Max/MSP externals, Matlab/Octave; 15 years experience with Common Lisp |
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Natural Languages | | English (native speaker), French (reading and writing ability, rudimentary verbal skills) |
