Kenneth Kirschner & Joseph Branciforte: From The Machine, Vol.1

my latest album, a recording of algorithmically & digitally composed works for chamber ensembles with my friend kenneth kirschner, is out now on greyfade, in both vinyl + digital editions:

the project explores the question of what happens when one applies compositional techniques from computer music (algorithmic processes, generative systems, probability, indeterminacy, etc.) to the creation of notated music for acoustic instruments. the string quartet that i composed for the album was done completely in max, using voice leading, data sorting, & orchestration algorithms that i wrote.

this is the first volume in a series of releases, and includes side-length pieces for piano & strings. the music was recorded by some incredible classical players from international contemporary ensemble and flux quartet.


Preordered- very excited to listen. Love the video/ process!

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@Benjamin_Mauch thanks for listening benjamin!

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this album is out today!

available in vinyl + digital editions at:
bandcamp / greyfade


20 characters of greatness

thanks for listening!

for anyone who’s interested, i wrote a few articles on composing algorithmically for acoustic instruments a couple years back.

these articles get at some of the harmonic & formal ideas i was exploring in max on this record.


Thank you Joseph. I read your article when you published it back then. Since then I am interested in your work and got a new perspective on algorithmic works…

nice to hear, glad you got something out of the articles.

there’s still a ton to explore going in this direction for me, and i’m always on the lookout to see how others approach algorithmic composing for acoustic instruments… especially in the harmonic domain.

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very excited to get both of the greyfades in the mail! congrats on this release!

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vinyl for the new record just came in today, so will be shipping out tomorrow. hope you enjoy the sounds!

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spoke with gregory from C74 about the process of making the record, using max as a “structure tool” rather than a “sound tool”, and translating from algorithm to notated score.

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