The seven compositions that comprise this dissertation are represented by the following files: text file (pdf), seven video performances (mp4), and corresponding zipped files of custom software and affiliated files (various file types). / This Digital Portfolio Dissertation presents seven compositions including text documents that explain the synthesis techniques, data mapping and routing, visual elements, the software used, all software needed to reproduce these works, and a video recording of all seven compositions. The unifying thread in my seven works is magic. The sense of magic in a live performance is the connection between artist and audience that lies beyond the immediate understanding of any work. I use this insight to create a new world inspired by sound and visuals. I perform each of these works by combining my understanding of data-driven instruments and my experience as a classically trained musician. The combination of sound design, visual composition, and a sense of magic allows me to realize these seven works. My goal is to contribute to the extensive library of electroacoustic works through my performance of my music with data-driven instruments.

Rete Mirabile is my new installation piece combining scientific principles with live computer generated music. The title is a Latin term meaning "Wonderful Net," which I use to refer to the highly convoluted network of biological data that drives my installation. The sonification of data, computer modeling of biological processes, kinetic sculptures, and user interactivity are central parts of the installation. The paper is organized as follows: First, brief history of the forerunners that inspired my work is given. This includes a short discussion on how John Cage and David Tudor influenced current artists works, and how those works have influenced my own work. Then I review current installation works that share similarities with my own. Finally, a detailed discussion and analysis of the construction and function concludes the paper.

The seven compositions that comprise this dissertation are represented by the following files: text file (pdf), seven video performances (mp4), and corresponding zipped files of custom software and affiliated files (various file types). / This Digital Portfolio Dissertation centers on a collection of seven digital videos of performances of original electroacoustic compositions that feature data-driven instruments. The dissertation also includes a copy of the original software and affiliated files used in performing the portfolio of music, and a text document that analyzes and describes the following for each of the seven compositions: (1) the design and implementation of each of the seven complete data-driven instruments; (2) the musical challenges and opportunities provided by data-driven instruments; (3) the performance techniques employed; (4) the compositional structure; (5) the sound synthesis techniques used, and (6) the data-mapping strategies used. The seven compositions demonstrate a variety of electroacoustic and performance techniques and employ a range of interface devices as front-ends to the data-driven instruments. The seven interfaces that I chose to use for my compositions include the Wacom Tablet, the Leap Motion device for hand and finger detection, the Blue Air infrared sensor device for distance measurements, the Nintendo Wii Remote wireless game controller, the Gametrak three-dimensional, position tracking system, the eMotion™ Wireless Sensor System, and a custom sensor-based interface that I designed and fabricated. The title of this dissertation derives from the extra-musical impulses that drove the creative impulses of the seven original electroacoustic compositions for data-driven instruments. Of the seven compositions, six of the pieces have connections to literature. Despite the fact there is a literary sheen to these musical works, the primary impulses of these compositions arise from the notion of absolute music – music for music’s sake, music that is focused on sound and the emotional and intellectual stimulus such sound can produce when humans experience it. Thus, I simultaneously work both sides of the musical street with my compositions containing both extra-musical and absolute musical substance.