• 805.453.0545
  • brian.hansen78@gmail.com

Curriculum Vitae

 

 

 

 

 

Brian Michael Hansen, PhD : Music Technologist / Composer

7805 Redondo Street, Ventura, CA 93004 | (805) 453.0545

brian.hansen78@gmail.com

www.sonimmersion.com

www.echob.it

 

 

Education                                                                                                                                   

University of California Santa Barbara, Santa Barbara, California

PhD Music Composition (completed summer 2013)

MS Multimedia Engineering (completed 2012)

Focus: Music Technology and Composition

GPA: 3.9

 

University of Saint Thomas, St. Paul, Minnesota

Bachelor of Arts May 2001

Major1: Mathematics

Major2: Music (piano performance / composition emphasis)

GPA: 3.5 (Cum Laude)

 

 

Professional Experience                                                                                   

Founder and Owner of Sonimmersion: Product Development in Music Technology and Software Service Consulting. Clients/projects include:

                       

Echobit, Ventura CA                        December 2015– Present

– Software Applcation Viz: music visualization tool utilizing live coding of glsl shaders

– Software Application Mosaic: sound design tool utilizing concatenative synthesis

 

Slate Media Technology Inc. Los Angles CA                        December 2012– Present

– Software development of the Slate Pro Audio RAVEN multi-touch production console.

– Software development of the Slate Pro Audio Batch Commander

– Software development of the Slate Pro Audio Remote for iOS

           

Apogee Electronics. Santa Monica CA                        March 2016– March 2017

– Software development of user interface Element Control, used for Element eries audio interfaces.

           

Interactive Music Company, Shell Beach CA                        January 2017 – September 2017

Development of the music education application HONE.

 

Louder Than Liftoff Inc. San Jose CA                        March 2016 – January 2017

– Analog circuit modeling of the filter Chop Shop 500.

                       

Zya Inc., Calabasas CA                        August 2015 – December 2015

– Consultation and development of primary music algorithm (text-to-melody mapping) used for Ditty application.

           

Music Mastermind Inc., Calabasas CA                        April 2010 – December 2012

– Core design of methodology and implementation of music content in Zya application

– Software development of advanced algorithmic techniques for music composition

– Research and implementation of music theory practices and DSP

– Composition of character hooks in Zya application

 

 

 

Academic Experience                                                                                   

Course Instructor                        January 2011 – March 2011

University of California Santa Barbara

– Instructor for Algorithmic Composition and the Gaming Industry.

– Course creation, lecturing, administering exams, and grading.

 

Teaching Assistant                        September 2010 – June 2011

University of California Santa Barbara

– Teaching assistant to Curtis Roads for electronic music course sequence MUS 209.

– Responsible for lab lectures and tending to student needs.

 

Course Instructor                        September 2008 – December 2008

University of Minnesota, Minneapolis MN

– Instructor of record for Music 1001 Fundamentals of Music

– Responsible for syllabus design, lecturing, administering exams, and grading.

 

Mathematics Research                                    June 2001 – August 2002

University of Saint Thomas, St Paul MN

– Creative modeling depicting chaos theory and fractal geometry in music.

– Presentation and Publications of paper Exploring Fractal Geometry in Music at National Conference of Undergraduate Research (NCUR) and Bridges conferences (2001)

 

 

Activities                                                                                                           _________________

Mosaic music application: Audio effects plug-in peforming real-time concatenative synthesis on signal granulation (2017)

Viz music visualization application: Audio reactive music visualization standalone and audio plug-in application allowing for real-time manipulation and live coding of glsl shaders. (2017)

White Rest music application: noise generator application allowing for interactive customization of the sound with generative melodic accompaniment. (2017)

– Deeep Modular – Santa Barbara Center for Art, Science, and Technology (SBCAST): music visualization performance with projection and virtual reality – (Oct 2016).

– Audio Engineering Society (141st Convention, Los Angeles): presentation of products Mozaic, concatenative synthesis plug-in, and Viz, music visualization software – (Sep 2016)

– Santa Barbara Center for Art, Science, and Technology: presentation of arrason, musical soundscape with visualization in virtual reality – (Jul 2016)

– Designing Musical Games : Gaming Musical Design summer workshop at Center for Computer Research in Music and Acoustics (CCRMA, Stanford University) – exploration of procedural audio with virtual reality and the Unreal game engine – (Jul 2015).

– Designing Musical Games : Gaming Musical Design summer workshop at Center for Computer Research in Music and Acoustics (CCRMA, Stanford University) – exploration of procedural audio embedded in Unity game engine and iOS devices – (Jul 2014).

Sonic Focus music application: generative music application utilizing bilateral sound desensitization and reprocessing (BSDR), Available in app store – (2014)

– 1st Prize Corwin award in electro-acoustic category for San Viento – (2010)

– 3rd Prize Corwin award in chamber ensemble category for Binated Triphasis – (2010)

– Collaboration with UCSB Symphony Orchestra for electro acoustic rendition of Charles Ives’ The Unanswered Question – (2009).

– UCSB Composition Forum coordinator – (2010)

– Coordinator of Dance concert for UCSB Primavera festival – (2008)

– UCSB Central Fellowship award to pursue PhD – (2007)

– American Composers Forum Subito grant – (2005)

– University of St Thomas Sacred Arts Festival Commission of One Girl (2001)

– University of St Thomas “Patchwork” Composer Collaboration Commission (1999)

– University of St Thomas Coordinator of Composer’s Workshop (2000)

– University of St Thomas scholarship for piano performance (1999)

 

Papers & Publications                                                                                                                             

– Spatial Utilization of Sensory Dissonance and the Creation of Sonic Sculpture in Proceedings of the 40th International Computer Music Conference (2014)

– Exploring Fractal Geometry in Music in Bridges Conference Proceedings (2001)

 

Selected List of Compositions                                                                                                          

Arrason (2016, in-progress), for computer generated soundscape and virtual reality.

Cloud Organum (2016, Duration: 12’), for laptop ensemble.

Sensations of Tone (2013, Duration: 15’), for the Allosphere at the California NanoSystems Institute at UC Santa Barbara.

Studies of Sonic Process (2012, Duration: 30’), for player piano.

Arch and Curl (2012, Duration: indeterminate), sonic sculpture installation.

The Art of the Fugue: Contrapunctus XIV – Completion (2011, Duration: 11’), unspecified instrumentation.

Activity & Presence (2010, Duration: 12’), for solo cello and computer processing.

San Viento (2009: Duration: 9’), for fixed audio – musique concrete.

the sky (2009, Duration: 5’30”), for solo voice and computer processing.

Electro-acoustic rendition of Charles Ives’ The Unanswered Question (2009, Duration: 10’), for orchestra and computer processing.

A Family Portrait (2008, Duration 8’), for fixed audio.

Delay Abstraction (2008, Duration 6’), for electric piano and computer processing.

Little C Sound Suite (2008: Duration: 10’), for C-Sound programming language.

Binated Triphasis (2007, Duration: 12’), for 2 Bassoons, 2 Bass Clarinets, and 2 Horns in F.

Sinoscape (2007, Duration: 8’), for bass clarinet, marimba, and piano.

Resonance (2006, Duration: 9’), for solo piano.

Abstraction.Reflection.Reunification (2006, Duration: 20’), for string trio (violin, viola, and cello).

Reflections (2005, Duration 10’), for SSAATTBB.

On Distance and Presence (2004, Duration: 12’) for mezzo-soprano and piano.

Dimensions (2002, Duration: 20’), for flute, clarinet in Bb, and piano.

One Girl (2001, Duration 10’), for soprano and organ.

Five Selections from Walt Whitman’s Drum Taps (2000, Duration: 15’), for baritone and piano.

Stages of Conflict (2000, Duration: 7’) for solo piano.

 

Selected List of Performances                                                                                                          

– Deeep Modular Santa Barbara Center for Art, Science, and Technology (SBCAST): music visualization performance with projection and virtual reality – (Oct 2016).

– Santa Barbara Center for Art, Science, and Technology: presentation of Arrason, musical soundscape with visualization in virtual reality – (Jul 2016)

Cloud Organum for laptop ensemble: premiered by the Laptop Orchestra at UI (LOUi), University of Iowa School of Music (April 2016)

– Lecture and Premiere of Studies of Sonic Process at Geiringer Hall UC Santa Barbara (2013).

– Premiere of San Viento at concert for Center for Research in Electronic Art and Technology (CREATE) at UC Santa Barbara (2010)

– UCSB Symphony Orchestra collaboration for electro acoustic rendition of Charles Ives’ The Unanswered Question, UCSB Primavera festival (Spring 2009).

– Premiere of Sinoscape at Studio Z by Zeitgeist ensemble in St. Paul, MN (2007).

– Premieres of Abstraction.Reflection.Reunification and Resonnance at Church of St Paul & St. Andrew, New York, NY (2006).

– Premiere of Dimensions by Young Soloists of New York at Yamaha Studios, New York, NY (2006)

– University of St Thomas Sacred Arts Festival Commission of One Girl (2001).

– University of St Thomas “Patchwork” Composer Collaboration Commission (1999).

 

General Skill Set                                                                                                                      _

– Audio DSP modeling including analog circuitry, spatialization, and psychoacoustics

– Machine learning implementations including hidden Markov modeling and deep learning approaches.

– Proficient with software languages C, C++, Objective C, Swift, JAVA, Lua, SAS, Python, Visual Basic, XML, JSON, Max/MSP, CSound, and Super Collider

– Operating system proficiency with OSX, iOS, Linux, Windows, and Android

– Advanced proficiency with JUCE API.

– Unreal and Unity game engines

– DAW proficiency with Pro Tools, Logic, Ableton Live, Digital Performer, Cubase, Nuendo, and Studio One

– Advanced piano repertoire