Dr. Shai Cohen

ד"ר שי כהן


Dr. Shai Cohen

Born in Haifa (1968) working as a teacher, composer and jazz performer. Cohen composes symphonic music, chamber music, electronic music, and music for solo instruments. Cohen's music has been performed by musicians and ensembles like SNU Symphony Orchestra (Korea), the Moscow Contemporary Music Ensemble (Moscow), members of the BBC Scottish Symphony Orchestra (Scotland), Tokyo National University of Fine Arts and Music (Japan), T'ang Quartet (Singapore), St Andrews New Music Ensemble (Scotland), Ensemble Kaprizma (Israel), Israel Contemporary Players, the Arab & Jewish ensembles of the Israeli Philharmonic Orchestra, The Tel-Aviv Soloists Ensemble, The Israel Kibbutz Orchestra, Israel Sinfonietta orchestra of Beer-Sheva and many others.

Cohen's music has been performed at events including "ACL Asian Contemporary Music Festival" (2003/Japan, 2009/Korea, 2012/Israel, 2013/Singapore, 2016/Vietnam, 2018/Taiwan), ISCM, contemporary music festival (2006/Moscow Autumn, 2019/Estonia), "Aberdeen Music Prize" (2011), 34th Annual "Bowling Green New Music Festival" (2013), "Israeli Music Festival" (2004, 2012).

Cohen is the director of the Music and Technology program at Bar-Ilan University teaching courses in Audio Synthesis, Advanced Studio Recording, Live Electronics Workshop, Arduino Workshop, Max/MSP/jitter Applications, Sound Engineering, Audio Applications, and Music Cognition Workshop. He is also a lecturer in Levinsky College of Education and in the Open University Music Departments.



  • Practical Electronics Engineering & Computer Science, ORT Bialik, 1989
  • Teaching Certificate + Teaching License, Bosmat Haifa, 1990
  • B.A. The Jerusalem Academy of Music and Dance, majoring in composition and jazz performing, 1994
  • M.A. Faculty of Humanities, Bar-Ilan University, Music Composition, 2003
  • Ph.D. Faculty of Humanities, Bar-Ilan University, Music Composition, 2007


  • John Coltrane and Nicolas Slonimsky - Music theory as an unexpected inspirational encounter
  • Echoes of Eternity, Fantasia for violin solo and orchestra


Research topics and areas of specialization:

  • Composition with an emphasis on the field of virtual art (new media), integration of the digital visual world for music applications, web creation, video art, sound installations, etc.
  • Technology and creativity, developing computational-system based environments for concert musical needs.
  • Pedagogy in a musical context based on innovative technology and the development of interactive learning environments.



  • 1996 -                    Lecturer. Carmel Zvulun Regional High School
  • 2003 -                    Lecturer. Bar-Ilan University, Ramat-Gan, Israel
  • 2009 -                    Lecturer. Open University Music Department, Tel-Aviv, Israel
  • 2010 -                    Lecturer. Levinsky College of Education, Tel-Aviv, Israel
  • 2012-2013             Lecturer. The Jerusalem Academy of Music and Dance, Israel
  • 2016-18                 Staff member, The Center for Innovation and Excellence in Teaching


  • Jerusalem Academy of Music and Dance. Course in music and technology - History and Literature and algorithmic programming using MAX/MSP.  



  • Military service: The IAF programming electronics and music educational activities.
  • Musical arranger in the IAF Education Corps.
  • Seniority in teaching: 1993-2019 (24 + 3 years of teaching in the IAF)


  • 2010 - Menachem Avidom Prize Achievement Award for the piece “Echoes of Eternity, Fantasia for violin solo and orchestra” - An ACUM Prize.
  • 2011 - Aberdeen Music Prize for "Circles of Time" for Trumpet string quartet members of the BBC Scottish Symphony Orchestra in the University of Aberdeen Music Prize.
  • 2011 - Ministry of Culture and Sport, The Prime Minister's Prize for Music Achievement.
  • 2017 - Research grant in the framework of the President's Fund, Levinsky College of Education.
  • 2017 - The President's scholarship for planning and developing an innovative teaching-learning course, Levinsky College of Education, Composition, and improvisation in real-time.
  • 2018 - Outstanding lecturer at Bar Ilan University, Israel.


  • 2012-2017            Chairman of the Israel Composers' League
  • 2015-2017            Member of the Prime Minister's Prize for Composition Committee
  • 2017-                    Israel's Ministry of Education, Curriculum Committee for High School
  • 2018-                    Member of the Board of Trustees of the Composers' Award             


  • Cohen, S.  (January 16, 2020).  An international conference on contemporary music for early instruments. Composition, technology, and aesthetics - The well-tempered detune, Israel.
  • Cohen, S.  (November 29 - Dec 1, 2017).  An international conference on research in music and creativity, pushing the boundaries of musical expression. IRMaM, The Center for Interdisciplinary Research in Music and Mind, Israel.


Course books:

  1. Cohen, S. (2011). Music and Creation in a Computerized Environment - 10767. The Open University. Writing and developing 14 study units, including the coursebook.

Referred articles:

  1. Ornoy E., Cohen S. (2018). Analysis of contemporary violin recordings of 19th century repertoire: identifying trends and impacts. Frontiers in Psychology. doi: 10.3389/fpsyg.2018.02233
  2. Sandak B., Cohen S., Gilboa A., Harel D. (2019) Computational elucidation of the effects induced by music making. PLoS ONE 14(3): e0213247. doi: 10.1371/journal.pone.0213247
  3. Cohen, S. (2017). Musical creativity resulting from dyslexia in reading score. Between the words, art therapy, Kibbutzim College of Education. Issue 14, 2018.
  4. Cohen, S. (2017). Music Composition and real-time improvisation with mobile technology. Proceedings of the 13th Chais Conference for the Study of Innovation and Learning Technologies: Learning in the Technological Era, Raanana: The Open University of Israel, pp. 214-219.

Works in Progress:

  1. Cohen, S.; Zarchi, R. Issues in musical temperaments as part of choral singing, planning, and building a working environment for student demonstrations and practical practice, in preparation.
  2. Adi-Japha, E.; Cohen, S. & Isaacson, A. On Creativity and Skills: Improvised Music on Keyboard in a Multiple Trial Learning, in preparation.
  3. Gordon I., Gilboa, A., Cohen, S., Milstein N., Haimovich N., Pinhasi S., Siegman S. (in review). Beat to Beat: Physiological and Behavioral Synchrony Predict Group Cohesion and Performance.
  4. Cohen, S.; Ornoy, E. Between the embedded and the perceived violin timbre in contemporary violin recordings of 19th century repertoire: identifying trends and impacts, in preparation.

Musical compositions performed and premiers in Israel and abroad:

  1. Cohen, S. "Epistola de ignoto", for amplified ensemble and fixed media electronics. Ensemble airborne extended, The well-tempered detune, International Conference on contemporary music for early instruments. Bar-Ilan University, Israel (Jan. 2020)
  2. Cohen, S. "4 lines", for Prepared amplified Snare Drum and fixed-media electronics. Geizhals Oded, CNMAT Berkeley UC, California, USA (Dec. 2019).
  3. Cohen, S. "The edge of Irrationality", for Electric Guitar and Drum Set. Lev Nadav and Geizhals Oded, Spectrum, NYC (Dec. 2019).
  4. Cohen, S. "Mechanical Expressiveness", for Flute & Alto Flute head joints and electronics. Antonella Bini, Italy (Nov. 2019).
  5. Cohen, S. "Signs", for voice and piano. "Israeli Music Festival", The Jerusalem Music Centre (Oct. 2019).
  6. Cohen, S. "I saw a rainbow in a puddle", For Harp solo and electronics. Olga Moitlis (Sept. 2019).
  7. Cohen, S. (2019). "Seven Cadenzas" for string quartet and electronics, commissioned by Carmel Quartet (June 2019).
  8. Cohen, S. (2019). "Noumenon" for ensemble with audiovisuals, commissioned by the International Society for Contemporary Music, Ensemble for New Music Tallinn (Apr. 2019).
  9. Cohen, S. (2019). "I Heard a Fly Buzz... When I Died" for ensemble and electronics, commissioned by the 'Israel Contemporary Players, Tel Aviv (Mar. 2019).
  10. Cohen, S. (2018). "Pain Expands the Time" for chamber ensemble. Wiener Collage Ensemble, Buchman Mehta School of Music, Tel Aviv (Dec. 2018).
  11. Cohen, S. (2018). "I Heard the Old Men Say..." for chamber ensemble. The 3rd “Asia – Europe” New Music Festival in Vietnam (Nov. 2018).
  12. Cohen, S. (2018). "Can You Hear the Wooden Man" ensemble for percussion. Ju Percussion Group, the 35th Asian Composers League Conference and Festival, Taiwan (Oct. 2018).
  13. Cohen, S. (2018). "Absence of Yesterday" for flute, clarinet, cello, and piano. Meitar Ensemble, the Israeli Conservatory of Music, Tel Aviv-Yafo, Israel (Oct. 2018).
  14. Cohen, S. (2018). "Ancient Scripts" for accordion and electronics. Peter Katina, Slovenia (Sept. 2018). *
  15. Cohen, S. (2018). "Tefila" for alto sax and live-electronics. Jonathan Chazan, HaTeiva, Tel Aviv-Yafo, Israel (June 2018). *
  16. Cohen, S. (2018)."Messages from..." for young concert band and vibraphone. Hagar Shahal, The Israeli Conservatory of Music, Tel Aviv, Israel (June 2018).
  17. Cohen, S. (2018). "Parenthetically" for piano and live-electronics. Hagai Yodan, 60-second project, Israel (June 2018). *
  18. Cohen, S. (2017). "Magic Spells and Ancient Ritual" for violin solo. Moshe Aharonov, Pushing the Boundaries of Musical Expression. International Conference on Research in Music and Creativity. IRMaM, Bar-Ilan University, Israel (Nov. 2017). *
  19. Cohen, S. (2017). "Moment of Silence" for sax quartet and tape. The Tel Aviv Saxophone Quartet, the Israel Conservatory of Music, Tel Aviv, Israel (July 2017).
  20. Cohen, S. (2017). "The Double" for violin solo strings and tape. Moscheles Ensemble, conductor: Jan Rezek, Sólisté Tomáš Tuláček, Muzeum Bedřicha Smetany, Prague, Czech Republic (June 2017).
  21. Cohen, S. (2017). "Time Dilation" for piano solo. Hagai Yodan, Tel Aviv, Israel (May 2017).
  22. Cohen, S. (2017). "A Second Glance of Rows Already Written" for mezzo-soprano and cello. Bracha Kol Mezzo and Yoni Gotlibovich, Levinsky College of Education Tel Aviv, Israel (Jan. 2017).
  23. Cohen, S. (2016). "Disegno" for flute and chamber ensemble. New Babylon Ensemble, BREMEN, Germany (Oct. 2016).
  24. Cohen, S. (2016). "Seven Flashes of Thought" for orchestra.  Vietnam National Symphony Orchestra (VNSO), Hanoi Opera House, the 34th ACL Festival & Conference in Vietnam. Conductor: Mr. Honna Tetsuji. (Oct. 2016).
  25. Cohen, S. (2016). "Encounters" duet for trumpet and piano. Yigal Meltzer, Amit Dolberg, The Israeli Conservatory of Music, Tel Aviv, Israel (Oct. 2016).
  26. Cohen, S. (2016). "A Tale of Nature" for solo electric guitar and triggered-tape. Alain Blesing, USA (Aug. 2016).
  27. Cohen, S. (2016). "Tachbir" for piano solo. Ofra Yitzhaki, The Israel Conservatory of Music, Tel Aviv, Israel (Feb. 2016).
  28. Cohen, S. (2016). "A Deafening Silence" for chamber orchestra. Pierre-Andre Valade: conductor: Meitar Ensemble, EME Festival Tel Aviv,Israel (Jan.2016).
  29. Cohen, S. (2015). "Ma-hod" for English horn and percussion quartet. Benjamin Fischer and New Babylon Ensemble, BREMEN, Germany (Dec. 2015).
  30. Cohen, S. (2015). "Like a Mountain Stream" for soprano and vibraphone. Geizhals Oded and Aronstein Einat, The Abu-Gosh Vocal Festival, Jerusalem, Israel (Oct. 2015).
  31. Cohen, S. (2015). "Episode II" for amplified cello, soundtrack and live electronics. Markus Hohti, Oulu, Finland (Sept. 2015). *
  32. Cohen, S. (2015). "Narrative Enigma" for viola solo and ensemble. Meitar Ensemble, Pierre-André Valade, The Center for New Music, Tel Aviv, Israel (Apr. 2015).
  33. Cohen, S. (2014). "Mistorin" for accordions. Ljubljana, Slovenia (Oct. 2014).
  34. Cohen, S. (2014). "I Have Outlived the Night" for mezzo‐soprano, digital narrator and double projectors. Angelica Cathariou, Greece (Aug. 2014). *
  35. Cohen, S. (2014). "Mipnej Mah?"  For violin, clarinet, cello, and piano. Based on themes from J. Engel, op. 35, Hadibuk.  Orit Orbach, Levinsky College of Education, Tel Aviv, Israel (June 2014).
  36. Cohen, S. (2014). "Variation on an Old Story" for Violin, soundtrack and live electronics. Cordelia Hagmann, HaTeiva. Tel Aviv-Jaffa, Israel (May 2014). *
  37. Cohen, S. (2014). "Parmenides Dialogue" for flute and marimba. Elisabeth Wentland, Oded Geizhals, Felicja Blumental, Israel (Mar. 2014).
  38. Cohen, S. (2014). "Apsis" for piccolo, baritone sax and tuba. Noa Even, Elise Roy, Mary MacKinnon, University of Bowling, Green State, USA (Jan. 2014).
  39. Cohen, S. (2013). "And the Echo Died Away" for string orchestra and vocals. Tel-Aviv Soloist Orchestra, Barak Tal, Hadas Faran-Asia, Shahar Lavi, Israel (Dec. 2013).
  40. Cohen, S. (2013). "Ragnarok" for chamber orchestra. Sally Beamish, St Andrews University, Scotland (Nov. 2013).
  41. Cohen, S. (2013). "Games, Songs and Dances" for string quartet. T'ang Quartet, ACL Asian Contemporary Music Festival 2013, SINGAPORE (Sept. 2013).
  42. Cohen, S. (2013). "pANIkA" for ensemble and electronics. Meitar Ensemble, The Center for New Music, Tel Aviv, Israel (July 2013). *
  43. Cohen, S. (2012). "Boundaries" for violin solo and real-time graphics control sound processing. Moshe Aharonov, 30th Festival & Conference of the ACL (Oct. 2012). *
  44. Cohen, S. (2012). "Shochenet Basade" for big-band, ethnic soloist singer, choir and oud. The Israeli Music Festival (Sept. 2012).
  45. Cohen, S. (2012). "Pride" for piano and voice. Revital Raviv, Eyal Bat, Levinsky College of Education, Tel Aviv, Israel (Apr. 2012).
  46. Cohen, S. (2012). On Another Note" for soprano sax, piano, bass and perc.  Reeds & Mallets Ensemble, HaTeiva Tel Aviv-Yafo, Israel (Mar. 2012).
  47. Cohen, S. (2011). "Circles of Time" for trumpet and string quartet. The BBC Scottish Symphony Orchestra, University of Aberdeen, Music Prize Gala Concert (Nov. 2011).
  48. Cohen, S. (2011). "Liminal Experiences" for ensemble and tape. Meitar Ensemble, Jerusalem theatre, the Israel Music Festival (Oct. 2011).
  49. Cohen, S. (2011). "Schizophrenia" for alto sax, marimba (and vibraphone). Reeds & Mallet's duo, Tel Aviv, Israel (June 2011).
  50. Cohen, S. (2011). "Nuance" for harp and live electronics. Olga Moitlis, Haifa, Israel (June 2011). *
  51. Cohen, S. (2011). "Second Message from Dmitri" for piano and string quartet, Israel Philharmonic Quartet, Levinsky College of Education, Tel Aviv, Israel (May 2011).
  52. Cohen, S. (2010). "Captured" for ensemble, tape and live electronics. The Israel Contemporary Players, Zsolt Nagy, Tel Aviv, Israel (Jan. 2010).
  53. Cohen, S. (2009). "From Earth to Wind" for accordion and narrator. Claudia Buder and Elija Schwarz, Leipzig, Germany (June 2009).
  54. Cohen, S. (2009). "Echoes of Eternity" for violin solo and orchestra. SNU Symphony Orchestra, Seung-Lim Kim, Seyoung Lee, Asian-Pacific Contemporary Music Festival in Korea (Apr. 2009).
  55. Cohen, S. (2009). "DSCH" for Ensemble. Moscow Contemporary Music Ensemble, Alexei Vinogradov, Moscow, Russia (Nov. 2006).

Work in Progress:

  1. "Odd kind of Sympathy", for For chamber ensemble, commissioned by  Meitar Ensemble (May. 2020).
  2. "The well-tempered detune", FOR QUARTER-TONE DISKLAVIER, UTEMS.
  3. "Darkness" for ensemble and electronics.

Works cited in books:

  1. E. Dolinskaya (2007). D. SHOSTAKOVICH dedicated to the 100th birthday of the composer. pp. 458-464.
  2. Aubat-Andrieu, M. (2019). Guide to the Contemporary Harp. p. 30.
  3. Jaffe K. (2011). Solo Vocal Works on Jewish Themes: A Bibliography of Jewish Composers. p. 352.

List of festivals and ensembles performed in Israel and around the world (partial list):

  1. Asian Contemporary Music Festival - 2003/Japan, 2009/Korea, 2012/Israel,
     2013/Singapore, 2016/Vietnam, 2018/ Taiwan.
  2.  "Asia - Europe" New Music Festival, Vietnam 2018
  3.  "ISCM" Contemporary Music Festival, Moscow Autumn, The Moscow
     Contemporary Music Ensemble, Moscow, 2006.
  4.  BBC Scottish Symphony Orchestra, Aberdeen Music Prize Scotland, 2011.
  5.  34th Annual Bowling Green New Music Festival, 2013.
  6.  The Vietnam National Symphony Orchestra, Vietnam, 2016.
  7.  The SNU Symphony Orchestra, Korea, 2009.
  8.  Tokyo National University of Fine Arts and Music, Japan, 2003.
  9.  T'ang Quartet, Singapore, 2013.
  10.  St. Andrews New Music Ensemble, Scotland 2016.
  11. The Israeli Music Festival, 2004, 2012, 2017.
  12. Kaprizma Ensemble, Israel, 2003.
  13. The Israel Contemporary Players, Israel, 2008, 2018.
  14. The Arab & Jewish Ensembles of the Israeli Philharmonic Orchestra, Israel.
  15. The Tel-Aviv Soloists Ensemble, Israel, 2014.
  16. The Israel Kibbutz Orchestra, Israel, 2005.
  17. Israel Sinfonietta Orchestra of Beer-Sheva, Israel, 2003.
  18. The Tel Aviv Saxophone Quartet, Israel, 2017.
  19. New Babylon Ensemble, Germany, 2016.
  20. Moscheles Ensemble, Czech Republic, 2017.
  21. Meitar Ensemble, Israel, 2015, 2016, 2017, 2018.
  22. Wiener Collage Ensemble, Vienna 2018.

Video score: http://www.youtube.com/playlist?p=PLFAB29E64A99E99EB


  1. Real-Time Music Composition with color and movement tracking (2008) a project in memory of Yossi Banai, premiered in Bar-Ilan University, Duration: "Free”
  2. Music for documentary film wins Haifa International Film Festival (2005) with the support of The Second Authority for Television and Radio.


  1. Cohen S. (2019). VOX FEMINAE 2019.  "Voices from the Killing Jar" by Kate Soper: a study in contemporary composition. Bar-Ilan University, Israel.
  2. Cohen S. (2019). The 19th Conference on Education Research.  “Issues in musical temperaments as part of choral singing, planning, and building a working environment for student demonstrations and practical practice”. Levinsky College of Education, Israel.
  3. Cohen, S. (2018). "Analysis of Contemporary Violinist Recordings of the Nineteenth Century Repertoire: Trends and Influences", Conference of the Israel Musicology Association, Levinsky College of Education, Israel.
  4. Cohen, S. (2018). "Feelings, Emotions, and Thoughts in the Virtual, Real and Hybrid Era", ContComp Conference on Contemporary Composition, the Dr. Hecht Center for the Arts, University of Haifa.
  5. Cohen, S. (2018). The 18th Conference on Education Research. Study of orchestration and arrangement using music notation software. Levinsky College of Education, Israel.
  6. Cohen, S. (2018). The 13th Chais Conference for the Study of Innovation and Learning Technologies. Music Composition and real-time improvisation with mobile technology. The Open University of Israel.
  7. Cohen, S. (2017). Pushing the Boundaries of Musical Expression, an international conference on research in music and creativity. Compositional analysis and synthesis in search for artistic potential. Bar-Ilan University.
  8. Cohen, S. (2017). The 17th Conference on Education Research. Closed and open systems in composition, technology, and education. Levinsky College of Education, Israel.
  9. Cohen, S. (2016). The Asian Composers League (ACL) festival. Presentation of Israeli contemporary music. Vietnam.
  10. Cohen, S. (2015). ISCM world music days, festival. Presentation of Israeli contemporary music. Slovenia.
  11. Cohen, S. (2015). The Asian Composers League (ACL) festival. Presentation of Israeli contemporary music. The Philippines.
  12. Cohen, S. (2014). ISCM world music days, festival. Presentation of Israeli contemporary music. Poland.
  13. Cohen, S. (2015). The Asian Composers League (ACL) Festival. Presentation of Israeli contemporary music. Singapore.
  14. Cohen, S. (2013). ISCM world music days, festival. Presentation of Israeli contemporary music. Vienna, Austria.
  15. Cohen, S. (2012). The Asian Composers League (ACL) Festival. Presentation of Israeli contemporary music. Israel.
  16. Cohen, S. (2012). ISCM world music days, festival. Presentation of Israeli contemporary music. Belgium.



Courses at Bar-Ilan University:

(47-109) Practical workshop in Music Cognition, (47-111) MAX Language algorithmic composition, (47-113) Acoustics and Orchestration, (47-114) Composition in post-digital era, (47-129) Music recording studio, (47-202) Music signal processing, (47-203) Max for live, (47-205) Practical workshop and interactive projects, (47-206) Advance MAX/MSP programming, (47-245) final projects, (47-140) Creating with music notation software, (47-882) Audiovisual programming, (47-886) Soundtrack design for Visual Media

Courses at Levinsky College of Education:

(60-184), Advanced Learning Environments, (40-757) Computer and Music, (40-20) Jazz Ensemble, (40-984) Writing and Editing Music in a Computerized Environment, (40-984) Real Time Composition and Improvisation, (60-164) MA projects

Courses at The Department of Literature Language and Arts, the Open University:

(10767) Music and creativity in a computerized environment


Software - Max/msp/Jitter, Matlab, Praat, Scala, supecollider, ableton



As part of my academic activities at the Department of Music at Bar-Ilan University, I am involved in a number of creative and research fields, including composition and improvisation in music. Both areas strive to expand musical expression beyond music score. That extension is reflected in the development of unique graphic notation methods and designated technological environments for concert context. Another area is the development of innovative teaching-learning environments based on musical technology tools built specifically in programs such as MAX/MSP or Supercollider.

Over the last ten years, there has been a dramatic development in computational abilities that have enabled me to build and develop models for electronic and electro-acoustic composition at Bar-Ilan University and beyond. In my research with colleagues in Israel and around the world, these developments are reflected in international festivals and concerts. In addition, most of my academic activities are devoted to nurturing a generation of creative musicians who acquire in our department knowledge and skills while writing research papers, thesis papers and doctoral studies on the subject. Together with Dr. Danny Oppenheim (USA), we led the conference for a new research center at Bar-Ilan University, which seeks to explore interdisciplinary interaction between music and mental processes related to the creation, performance, and experience of music. A fascinating encounter between neuroscience: understanding generative processes that occur naturally during creation and musical performance, music: exploring the practical aspects in various working environments with ensembles and composers from around the world, and computer science: starting an open work environment in Github by Deep Learning.

The following are examples of projects (partial list):

  1. "Issues in musical temperaments as part of choral singing, planning, and building a working environment for student demonstrations and practical practice" together with Prof. Ron Zarchi of Levinsky College of Education. The study focused on the design and construction of a computerized work environment for temperaments in choral singing, for student demonstrations and practical practice. Using the Max/MSP software and the Bach Library, I built a model that allows the choir conductor to see the four choir voices (soprano, alto, tenor, bass), select the desired temperament from a pool of approximately 4800 options (Scala, 2018) and update each note up or down in the range of + or - 100 cents. This tool provides a practical answer to the work of the conductor with the group and enables demonstrations and practice of notes, specific phrases or even the entire work.
  2. "Musical pantomime and Sculpture with Sound", a real-time musical composition based on color and motion tracking. The project was presented at a conference of the Board of Governors of Bar-Ilan University by the means of two laptops connected to each other via Internet communications and screened to the public. One computer functioned as a sensor to which a digital video camera was connected, and the other decoded the data and mapped it into a musical composition. The performer wore colored gloves on his hands and turned each side of the hand to the camera. After initial identification of the color by the first computer, the hand movements were followed by X-Y axes and allowed to draw lines on the screen respectively. These movements were transmitted over the Internet to the other computer, which decoded the color and movement and translated them into a musical work.
  3. "Music Composition and real-time improvisation with mobile technology", an interactive system for connecting computers and mobile devices. The study examined the unique contribution of mobile technology to the development of thinking, learning and musical performance. It is clear that the familiarity with contemporary art platforms and their methods of operation are essential for the learner in the twenty-first century as is the importance of active learning together, project-based games, and motivational activities. The ability to utilize this environment in the educational-musical field strengthened and improved the connection between the lecturer and the student and the students themselves.
  4. "Real-Time Music Notation Reading System" for the blind using wearable technology, Arduino and Max/MSP. Constructing a system that enables the blind musician to perform music in real time using wearable motors. The project won first prize in the Young Entrepreneurs Competition at Carmel Zevulun High School (Kibbutz Yagur).
  5. An audio-visual system based on mathematical models arising out of "self-organization and spontaneous order" to simulate chaotic processes resulting in nonlinear systems. The system was integrated into a clarinet solo (... Dialogue? ... No dialogue) in which the clarinets' sound transformed and shaped in real time by algorithmic and visual processes. The objective was to try to find the parametric mapping ratio between the time dimension, represented by the playing, and the dimension of space represented by the image of two robots. The movements of the robots were influenced by the intensity of the playing sound and influenced the characteristics of the played sound, mainly by adding new sounds surrounding the performance tones at different timings that created a texture reminiscent of rapid human speech. In addition, the spectral parameters of the pitch and tone were .altered and sometimes a sense of playing bass clarinet was created. At the end of the piece, the sound became only white noise sound.
  6. "Deconstructing a sound tone and adjusting it to a scale/micro-tonal representation of a scale as a timbre". A system that deconstructs a selected sound and produces a sequence of micro-tonic sound levels, respectively. The system is designed as an instrument for composing contemporary music with emphasizing the spectral field.
  7. "Musical creativity resulting from dyslexia in reading music notation". How to realize music through phenomena such as blindness, helplessness, blackout, sudden confusion or lack of control? How to give the listeners a sense of syntactic disruption, the breaking of the system of contexts or distraction? These and other questions stood at my doorstep during the construction of the artistic/technological concept. During the performance, the sounds of the instrument were entered into the computerized model for conversion in the time and register plane, thus creating distortion and multiplication of the player, sounds dispersed in space by speakers surrounding the listeners. Like a theatrical experience (or dance), the musicians mark the physical space in playing, and the "scenery" is an accompanying soundtrack, played from different points in space. This space-sound approach builds artificial consciousness, evokes imagination and creates a virtual sound world. The concept of mono-dialogue, between "here and now" is performed live, and a technical image is recorded and processed. An asymmetrical concept, which maintains a separation distance between action in space, in which it is impossible to disconnect the visibility of the operation from creation and performance, and sounds that maintain an anonymous sonoristic reality and function as echoes emanating from the environment.



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Office/Fax: 972-77-7805230
E-mail: shaiyc@bezeqint.net