Dr. Owen Green
Research Areas
- Machine Listening in Musical Practice
- Electronic Musical Performance and Instrument Design
- Philosophy of Music Technology
- Aesthetics and Music Technology
Vita
Academic Education
| 2005–2013 | PhD in Electroacoustic Composition at City, University of London, UK |
| 2004–2005 | MA in Electroacoustic Composition at City, University of London, UK |
| 1994–1999 | BSc in Audio Technology at the University of Salford, UK |
Career
| Since 2023 | Researcher on the project ‘Sonic-Social Genre?: Towards Multimodal Computational Music Genre Modelling’ at the Max-Plank-Institute of Empirical Aesthetics, Frankfurt am Main, Germany |
| 2017–2023 | Senior Research Fellow in Advanced Creative Coding on the project ‘Fluid Corpus Manipulation’ of Prof. Pierre Alexandre Tremblay at the Centre for Research in New Music, University of Huddersfield, UK |
| 2007–2017 | Tutor and Teaching Fellow in Sound Design, Reid School of Music, University of Edinburgh, UK |
Publications
Publications
Tremblay, P. A., Roma, G., & Green, O. (2022). Enabling Programmatic Data Mining as Musicking: The Fluid Corpus Manipulation Toolkit. Computer Music Journal, 45(2), 9–23. https://doi.org/10.1162/comj_a_00600
Mooney, J., Green, O., & Williams, S. (2022). Instrumental, Hermeneutic, and Ontological Indeterminacy in Hugh Davies’s Live Electronic Music. Contemporary Music Review, 41(2–3), 193–215. https://doi.org/10.1080/07494467.2022.2080455
Roma, G., Xambó, A., Green, O., & Tremblay, P. A. (2021). A General Framework for Visualization of Sound Collections in Musical Interfaces. Applied Sciences, 11(24), Article 24.https://doi.org/10.3390/app112411926
Roma, G., Green, O., & Tremblay, P. A. (2020). Audio Morphing Using Matrix Decomposition and Optimal Transport. In G. Evangelista (Ed.), Proceedings of the 23rd International Conference on Digital Audio Effects (Vol. 1, pp. 147–154). http://www.dafx.de/index.html
Roma, G., Green, O., & Tremblay, P. A. (2019). Adaptive Mapping of Sound Collections for Data-driven Musical Interfaces. Proceedings of the International Conference on New Interfaces for Musical Expression, 313–318. https://pure.hud.ac.uk/en/publications/adaptive-mapping-of-sound-collections-for-data-driven-musical-int
Roma, G., Green, O., & Tremblay, P. A. (2019). Time scale modification of audio using Non-negative Matrix Factorization. Proceedings of the 22nd International Conference on Digital Audio Effects (DAFx-19), 6.
Tremblay, P. A., Green, O., Roma, G., & Harker, A. (2019). From Collections to Corpora: Exploring Sounds through Fluid Decomposition. International Computer Music Conference Proceedings 2019. https://www.fulcrum.org/epubs/9880vt18d?locale=en#page=224
Bowers, J., & Green, O. (2018). All the Noises: Hijacking Listening Machines for Performative Research. In T. M. Luke Dahl, Douglas Bowman (Ed.), Proceedings of the International Conference on New Interfaces for Musical Expression (pp. 114–119). Virginia Tech. http://www.nime.org/proceedings/2018/nime2018_paper0026.pdf
Green, O., Tremblay, P. A., & Roma, G. (2018). Interdisciplinary Research as Musical Experimentation: A case study in musicianly approaches to sound corpora. Electroacoustic Studies Network Conference, Florence, Italy.
Green, O. (2016). The Situation of Practice-Led Research around NIME, and Two Methodological Suggestions for Improved Communication. Leonardo, 49(1), 78–79.
Green, O. (2014). Four Small LLEAPPs for Electroacoustic Music Studies: Notes on performance strategies from a series of participatory electronic music workshops. Electroacoustic Music Studies Network (EMS) Conference, Berlin. http://www.ems-network.org/IMG/pdf_EMS14_green.pdf
Green, O. (2014). NIME, Musicality and Practice-led Methods. In B. Caramiaux, K. Tahiroglu, R. Fiebrink, & A. Tanaka (Eds.), Proceedings of the International Conference on New Interfaces for Musical Expression (pp. 1–6). Goldsmith’s University of London. http://www.nime.org/proceedings/2014/nime2014_434.pdf
Green, O. (2014). Audible Ecosystemics as Artefactual Assemblages: Thoughts on Making and Knowing Prompted by Practical Investigation of Di Scipio’s Work. Contemporary Music Review, 33(1), 59–70. https://doi.org/10.1080/07494467.2014.906698
Green, O. (2011). Agility and Playfulness: Technology and skill in the performance ecosystem. Organised Sound, 16(2), 134–144. https://doi.org/10.1017/S1355771811000082