Yesterday, I formally
concluded the project entitled From Studio to Network – Developing
Creative Competencies in the Age of Technology, which was implemented
as part of the KPO program for culture. This marked the end of a
six-month period of extremely intensive work in several areas of my
compositional activity – even though at the same time I was also
pursuing other activities, playing concerts in Poland and abroad,
composing, producing my own recordings and those of other artists,
and writing articles. Professionally, this was one of the most
intense periods in my already quite long musical life. I also learned
that even an experienced composer, musician, and producer can always
learn something new, master technological advancements, and expand
their work and knowledge into new areas. These six months have
transformed me into a "version after a major technological and
competency update." A significant benefit has been not only the
new tools I've implemented, but also new professional contacts –
people with whom I've had the opportunity to meet, talk, and exchange
experiences. More specifically and briefly:
- I undertook a study
visit abroad to the Composition Department of the HAMU in Prague,
combined with an intensive MaxMSP course led by John MacCallum.
- I also completed three
more study visits, this time domestically: to the Electroacoustic
Music Studio of the Academy of Music in Kraków (during which I also
recorded a significant amount of audio material for new works), the
New Media Department of the Academy of Music in Wrocław, and the
Chopin University Electronic Music Studio in Warsaw.
- I completed two
extensive online courses: one on AI applications in music and one on
digital music distribution on the internet.
- I had in-person and
online consultations with four expert musicians specializing in the
performance of new music on wind instruments, specifically oboe,
saxophones, and flutes. As part of these consultations, I also
recorded audio material that was used to process and build the
electronic layer of the new compositions.
- I conducted my own
educational and research activities, developing digital competencies
in the field of immersive sound and virtual acoustic environments, as
well as the application of AI in musical activities in the broadest
sense.
- I implemented a
platform for remote work with other musicians, selected through
numerous trials, based on internet connections and audio
transmission, continuing my collaboration with my distinguished
composer colleague from Chicago, Brad Robin.
- I also purchased
advanced software and hardware necessary to fully implement the
project and its subsequent plans.
- As a result of my
research, I wrote an article on the musical applications of
artificial intelligence in the process of composing and producing a
musical piece – I mentioned it a few days ago, and the text is
available in Polish and English here: https://zenodo.org/records/18787416
- And finally, I composed
two new pieces incorporating the experiences gained during this
project.
I'd like to devote a few
words to these compositions. Both were written specifically for
outstanding musicians whom I deeply respect and with whom it's a pure
pleasure to collaborate: Some of Us Are Looking at the Stars for oboe
and electronic part for Aleksandra Panasik, and Come farfalle di
carta in volo sopra il fuoco for tenor saxophone and electronic part
for Enzo Filippetti.
With half a year of
intensive work behind me, I thank everyone who accompanied me, helped
me, and supported me throughout – with new knowledge and ideas, I
move forward. Plans are already afoot for further projects, live
performances, recordings, and many other endeavors.
The project was
co-financed by the European Union's NextGenerationEU fund as part of
the National Recovery Plan.
