James BradburyCurriculum Vitae
Research Fellow in Creative Coding - Fluid Corpus Manipulation Project
Knowledge Dissemenation, including:
- Researching how concepts across data science and machine learning can be taught to musicians with varying levels of musical and programming proficiency
- Building Max documentation for the toolkit
- Designing and delivering workshops for machine listening and learning with FluCoMa tools
- Generating web-based materials to support the transfer to techno-fluent musicians
- Building FluCoMa tools from C++ code in multiple creative coding environments
- Max, SuperCollider programming more generally and with FluCoMa tools
- Interface design and user experience
Freelance Programming and Creative Coding
Sessional Lecturer, Seminar Leader and Tutor - University of Huddersfield
Teaching Responsibilities, including:
- Designing lecture materials for electronic music modules at undergraduate level.
- One-to-one tutoring for final year undergraduate students.
- Leading seminars across desktop music production, sonic arts theory and practice.
- Marking and feedback
My undergraduate teaching at Huddersfield began in 2017. While employed by the university I have consistently been given additional responsibility and work delivering content for modules as well as designing materials for them independently.
Administration and other responsibilities, including:
- Personal tutor to 6 final year undergraduate students
- Liaising with module leaders and line managers over student concerns
PhD Music , The University of Huddersfield
Harnessing content-aware programs for studio-based digital computer-aided composition. Awarded 2021.
Dr. Alex Harker & Dr. Steven Jan
Master of Music, The University of Western Australia
Computer Creativity: An Evaluation of Three Interactive Musical Systems In Terms Of Their Interaction and Behaviour
Dr. Chris Tonkin & Dr. Louise Devenish
Bachelor of Arts (Honours), The University of Western Australia
Post-Doctoral Research with FluCoMa
As a post-doctoral researcher with the FluCoMa project, I have been answering questions surrounding the pedagogy of machine listening and learning. To do this, I have been creating documentation, learning resources and designing new musicianly interfaces for objects in Max with the toolkit. Alongside this I have been providing workshops to various levels of techno-fluent musicians and using their experiences as feedback to drive the forward development of the tools and to drive my own musical practice.
Writing and Publishing Articles
I have experience writing and publishing articles as well as delivering presentations on my own research as both a Master’s and PhD student (specific papers and presentations are listed in Publications and Presentations respectively).
This is an ongoing project with Mark Fell and Rian Treanor that has successfully received two different sources of funding through application from No Bounds and rewire festival. It is currently tendering additional funding via the Arts Council Projects Grant. The project is focused on creating distributed and decentralised methods for collaborating and learning music. I am responsible for creating the web-based application, which allows people to join “rooms” and interact wth a variety of rhythmic transformations and synthesis modules together across the world.
MetaBow Toolkit with Hong Kong Baptist University
I worked as a contracted programmer for a research project at Hong Kong Baptist University. For this project I created a Max package designed to facilitate composition with gesture recognition and data mapping techniques in combination with their newly created “MetaBow”. The package is currently in private alpha but will be released later this year in combination with a call for scores.
ReaCoMa began as a personal project to port the Fluid Corpus Manipulation (FluCoMa) tools to REAPER through the ReaScript API. This allows those machine listening and learning algorithms to be used directly in composition as well as exposing a set of APIs so that others can leverage the library in their own creative workflow. I was given funding internally at the University of Huddersfield to open source the project, create documentation, a video tutorial series (https://www.youtube.com/channel/UC24VF9uE4sU75xI3U4K6EoA), and make the tool more widely accessible to researchers who might not be proficient with Max, SuperCollider or Pure Data for which there are existing versions of the FluCoMa tools. https://www.reacoma.xyz
Since the start of the FluCoMa project I have been a part of the online community involved in providing feedback and generating discussion around the tools produced by the FluCoMa team at the University of Huddersfield. Through this community I have submitted numerous patches and engaged in discourse around user experience, interface design and electronic music composition. ReaCoMa has had significant impact and reach through this medium, and many of the commissioned composers have used my patches and tools built around the FluCoMa ecosystem. More information here: http://www.flucoma.org
Research Assistant on the FrameLib Project
I was employed to create documentation and a tutorial learning system allowing musicians with a wide range of competencies to become proficient with FrameLib. FrameLib allows composers and creative coders to create custom digital signal processing routines with frame-based processing such as for granular synthesis, spectral processing and audio descriptors. The tutorials were created in Max and have been distributed as a package to a large global community. More information here: https://github.com/alexharker/FrameLib.
Visiting Researcher at the University of Limerick’s SpADE
I spent 10 days hosted at the University of Limerick’s Spatialization and Auditory Display Environment, a 32-channel surround sound system designed for multi- disciplinary research. In my residency I wrote a piece using a large databases of vocal phonetic samples and received mentorship from Dr. Kerry Hagan, the principal researcher at the SpADE. The piece that was composed came to fruition at a much a later date in a piece presented in 2019 at the Electric Spring Festival in the United Kingdom.
Awards and Funding
Dennis Smalley Scholarship in Electronic Music - University of Huddersfield
Schenberg Fellowship - University of Western Australia
University Choral Society Prizes for Music - University of Western Australia
Lady Callaway Medal for Music - University of Western Australia
Royal Overseas League Third Year Prize in Music Performance - University of Western Australia
University Choral Society Prizes for Music - University of Western Australia
Final Year Project (University of Huddersfield)
Tutoring individual students in a 1-on-1 capacity to provide feedback and guide them through the process of creating a substantial creative project. Through this module I have advised on a variety of music genres including classical orchestral composition, soul, hip-hop, metal, punk, progressive rock and electronic music.
DMP1 - Desktop Music Production (University of Huddersfield)
Delivering seminars and lectures on techniques and technologies for computer-based music production including sequencing, sampling, arrangement, and a variety of sound processing techniques. A range of assessments, both technically or creatively focused develops their critical listening and production skills and seminars support them in applying these techniques to a range of individual aesthetics.
SAE1 - Sonic Arts and Electronica (University of Huddersfield)
Delivering seminars that introduce students to a broad range of electronic music styles and genres and technologies (Max, VCV Rack) in sonic art. Various genres are covered from IDM, EDM, acousmatic and sound installation work. includes For each student, the module culminates in the submission of a creative portfolio that encourages them to demonstrate the use of technology in imaginative ways. Throughout the year, I provide feedback to them and advise how they can develop their creative workflow, fostering their development as artists.
SAE2 - Sonics Arts and Electronica (University of Huddersfield)
This is a follow on module from SAE1 and is designed for students who completed SAE1 to take on more responsibility developing their practice, while giving them the opportunity to explore more personal aesthetic and creative goals across a variety of electronic based genres. Seminars delved into more complicated or hard to grasp subject matter ranging from sound design, studio practice and compositional technique. I also wrote a series of 6 lectures focusing on topics such as glitch aesthetics, interactive computer-based composition, genre-breaking artists in electronic music and developing creative workflow
MUSC1055 - Electronic Music: Methods and Means (University of Western Australia)
Providing seminars covering a wide range of electronic music genres. The seminars focus on exposing students to compositional strategies in these works and how composers outside mainstream genres of music approach structuring and designing music.
Computer-assisted corpus exploration with UMAP and agglomerative clustering. The 2020 Joint Conference on AI Music Creativity, Online.
Biomimicry: Analysis Of A Corpus-Based Interactive Improvisational System - Proceeds of the 2017 International Computer Music Conference, Shanghai.
Finding Things In Stuff, Fluid Corpus Manipulation Plenary, Huddersfield, video link
Making Decisions About Making Decisions About Making Decisions, Creative Coding Lab Symposium at Electric Spring Festival, Huddersfield, video link
Annealing Strategies, CeReNeM Colloquium, Huddersfield.
Biomimicry: Analysis Of A Corpus-Based Interactive Improvisational System, International Computer Music Conference, Shanghai.
Interferences, EP of 3 studio-based compositions.
Reconstruction Error, EP of 5 studio-based compositions.
Stitch/Strata, fixed-media composition.
Refracted Touch, for slide guitar (Daryl Buckley) and electronics.
Annealing Strategies, for simulated annealing system.
Biomimicry, EP in 10 variations of 2 studio-based compositions.
Esolang, for two cellos, piano and violin.
Traced Over, for bowed guitar and electronics.
Refracted Touch, for slide guitar and electronics. Performed by Daryl Buckley (ELISION) and James Bradbury
Stitch/Strata, for fixed media. Diffused by James Bradbury at the University of Huddersfield as part of Electric Spring Festival.
Stitch/Strata, for fixed media. Diffused by James Bradbury at the University of York as part of HISS @ 10.
Intra-tone, for trumpet and electronics. Performed by James Bradbury and Dan O’Connor at St.Paul’s Church as part of Tura New Music’s “Church Series”.
Biomimicry, for interactive system and one musician. Performed by Sage Pbbbt and James Bradbury at Babushka Bar as part of Audible Edge New Music Festival.
Esolang, for two cellos, violin and prepared piano. Performed by David Moran, Mary Rapp, Veronique Serret and Zubin Kanga at the Nest Creative Space, NSW, as part of Ensemble Offspring’s “Kontiki Racket”.
Traced Over, for bowed guitar and electronics. Performed by James Bradbury and Jameson Feakes at the Perth Institute of Contemporary Art as part of the Totally Huge New Music Festival.
Entropy on a Clock, for chamber orchestra. Performed by the West Australian Symphony orchestra’s EChO ensemble, at ABC Studios, WA.
Masterclasses and Courses
Masterclass with Benjamin Thigpen
Masterclass with Miller Puckette
Masterclass with Chaya Czernowin
Computer Music Course at IRCAM Manifeste Festival
Darmstadt International Summer Course for New Music
West Australian Symphony Orchestra: Young Composer Project
Selected Technical Experience
Programmer for Andie Brown’s Alucita II Installation
Created a Max-based system for controlling transducers in order to resonate wine glasses in an installation space. The system was managed through a custom compositional language based on determining the density and spacing of stochastic events. The system also uses machine listening for pitch tracking to automatically determine the fundamental frequency of glasses.
Technical Crew for the travelling Huddersfield Immersive Surround System
Planning, rigging and configuring diffusion systems at various universities with a sub-set of speakers from the Huddersfield Immersive Surround System (HISS).
Member of the Huddersfield Immersive Surround System
Crew member involved in rigging and setting up large-scale diffusion systems (typically 50+ speakers)
Co-engineer for Transformations CD
Assistant to Dr. Chris Tonkin in the recording sessions for Transformations
Other Relevant Skills
Huddersfield HackSpace (see https://hudhack.space) creator and organiser, University of Huddersfield
Relevant teaching administrative work (see Employment)
Concert planning, development and organisation for composition concerts, University of Western Australia
Client communication through freelance work including invoicing and grant applications
I have a basic level of experience with C++, evidenced by development of bespoke tools for music composition. These include a number of Max externals (onecount, plusequals, bufspill) and additional objects for Dr. Alex Harker’s FrameLib library (fl.info~, fl.reverse~). I also have experience working with C and C++ build systems include Cmake.
I have advanced knowledge in Python, using it across a wide range of applications such as computer-aided composition, audio processing, machine learning, machine listening and for developing my own tool for computer-aided composition FTIS. Through this work I have gathered significant experience working with Python toolchains such as pip, poetry, PyPi and good practice for Python module creation.
Electronic Music Software
Ableton Live, REAPER, Pure-data, Max, SuperCollider
I have advanced knowledge of and experience with visual programming environments such as Max and Pure-data. In addition to this have advanced knowledge of and experience with digital audio workstations Reaper and Ableton Live. I have an intermediate to basic knowledge of Supercollider and have experience writing my own classes for experimenting with ad-hoc compositional ideas and tools.
CD / Digital
Biomimicry (2016) - Tone List
Biomimicry is an interactive real-time system written in Max. Using audio features to analyse the performer’s sound input and a “faulty” memory to store this information, the system creates intense and machine like responses to the human musician. Each CD that was released contained a different instance of Biomimicry in collaboration with two performers, Dan O’Connor and Sage Pbbbt.
I currently hold a valid UK driving license.