Ghost Dance is a film by Tony Venezia who graciously allowed me to compose and realize a new soundtrack. The film makes use of water and waves to create ethereal shapes that seem to dance, sometimes playfully sometimes eerily. My goal was to take a film that had abstract content and replace the score with one that more closely matches the imagery of the film. In any intermedia work the challenge is to maintain a balance between the various art forms involved. In a film where there is no dialogue the music need not take a secondary or tertiary role. My aim was to not just accompany the visual images but to find a partnership where sound and video are wedded at times but often play off of one another. The soundtrack was generated with an algorithmic routine in Music Wonk (a graphic programming environment) that allows the composer to define larger and contrasting sections of music. User defined tempo changes initiate changes in velocity, rhythm, and transposition. The resultant material is routed to a digital workstation for “orchestration” and further compositional manipulation. The sonic material consists of granular, analog and fm synthesis and processed audio samples.
Ken Paoli, Professor of Music at College of DuPage, received his undergraduate training at DePaul University, studying composition with Phil Winsor. His graduate degrees are from Northwestern University, where he studied composition with M. William Karlins.
An ongoing project involves the archiving of the works of American composer Phil Winsor. His analysis of Winsor’s Il Passaggio Spaziale was presented at the International Workshop for Computer Music and Audio Technology (WOCMAT 2015) in Hsinchu, Taiwan and his paper on Winsor’s Formosan Aboriginal Legends was presented at WOCMAT 2016 in Taoyuan, Taiwan.
His paper entitled “Macrostructure and Transition in an Algorithmic Composition Environment.” was published in the proceedings of the International Computer Music Association in 2017 and a paper on Winsor’s MAX/MSP instrument, MYST was presented at the ICMC 2018 in Daegu, South Korea. In December 2017 as an invited lecturer to WOCMAT 2017. Ken presented a lecture on algorithmic chord generation utilizing the Hindemith chord classification system allowing for the creation and control of harmonic structures.
His catalog of works includes music for orchestra, acoustic ensembles, electro-acoustic combinations and computer-assisted algorithmic compositions. Besides composition, Ken is active as an arranger and keyboardist and maintains a busy schedule of performance in the Chicago area.