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COURSES:
click on course names for syllabus, or here for full descriptions/syllabi of current /past courses
New York University: Advanced Max/MPS/Jitter (designed course, running every Spring since ’05); Electronic Music Performance (aesthetics, performance, techniques with ensembles or laptop orchestra, since ’10, in-person, online during lockdowns March ’20-May ’21); Electronic Music Performance: Soundwalking and Field Recording (course designed for blended in-person/online during pandemic, Fall ’20, Spring 2021): Private Composition (since 2007); Intro to Max & MIDI II (1995-2007, 2016-17); Computer Music Synthesis (first year entry level Max/MSP course focusing on music synthesis techniques Fall 2018); Digital Audio Processing (2009/2016); Advanced Computer Music Composition (2019); guest lecturer for Summer Institute (Teens); Girls Electronic Music (summer program middle-school girls) 2014, ’15, ’18, ’19); Music Tech and Freshman Experience 2007-2010);
New School: Live Electronics for Interactive Music (self-designed course for Electronic Music performance ensembles with intro to Max programming, in-person, but online Spring 2021); Soundwalking and Field Recording (self-designed course in-person Spring semester 2022, 2023) Electronic Music (self-designed survey with intro to Max programming); Intro to Music Technology (renamed Sound and Technology) (fundamentals of acoustics, music/audio synthesis, microphone techniques, recording, music sequencing programs, filters/effects, listening techniques, emphasis on sound studies and technical readings and experiments and student projects, taught 2014-2016, and Fall 2021, updated to include learning about work/research in telematic/online music for live performance.);
Other past courses: Studio Advisor (Transart MFA program); Aesthetics of Live Processing (designed for UniArts Summer Sound Art Academy, Helsinki); Dynamic and Interactive Media Performance — Intro Max/MSP/Jitter, (Brooklyn College Performance & Interactive Media Arts (PIMA) M.F.A. program
Intro to Music Technology (Bloomfield College);
Music Theory and Ear Training I (Bloomfield College);
Intro to Max/MSP (School of Visual Arts);
Intro to Max/MSP (Bard College);
Intro to Sound Design (Pratt Institute).
PUBLICATIONS (Dafna Naphtali):
Blog Posts: New Music Box. Editor Frank Oteri, October 2017. www.newmusicbox.org
“Live Sound Processing and Improvisation” 10/5/17
“Delays as Music” 10/12/17
“Delays/Filtering/Feedback: the trifecta” 10/19/17
“Resonating Filters: How to Listen and Be Heard” 10/26/17
Book Chapter. “What if Your Instrument is Invisible?”
Boverman, Till, et al, editors. “Musical Instruments in the 21st Century – Identities, Configurations, Practices”
2016, Springer Verlag, Singapore download chapter as PDF.
Book Chapter (2019): Naphtali, D., & Rodkin, R. (2019). Audio Augmented Reality for Interactive Soundwalks, Sound Art and Music Delivery. In M. Filimowicz (Ed.), Foundations in Sound Design: Interactive Media (Vol. 2, Foundations in Sound Design). 2019, Routledge, New York, NY.
Journal article. “A View on Improvisation from the Kitchen Sink.” (Dafna Naphtali / Hans Tammen)
Leonardo Music Journal 20 (2010): 97. Web 1997
download article as PDF
IASIG White Paper. Web Audio Working Group 2001 White Paper on Interactive Audio, chaired by Steve Horowitz (of Nickolodeon Online), co-authored subchapter on “Beatnik” interactive audio plugin as part of an overview of current technologies for IASIG, and with top industry specialists in interactive audio of the time.
PDF — Interactive Audio on the Web (Web Audio Working Group IASIG, 2002)
Blog Editor/Posts. “Electronic Music Performance” a blog edited by Dafna Naphtali, 2012-present, created for students, to serve as a “living and evolving list of essential listening in experimental electronic music + related fields– grouped topically with the intention of underscoring connections between music made over several generations and overlapping practices.” https://electronicmusicperformance.wordpress.com
Online Article. “What If Your Instrument Is Invisible?” Almanac on Contemporary Instruments. 3DMIN, 2015.
Interview with Cycling ’74. with Cycling ’74, creator of Max software 2011 (by Marsha Vdovin, Rod MacLeod “C74: An Interview with Dafna Naphtali.
Masters Project, New York University. (for M.M.)
“Time-Based Effects Processing Algorithms and their Musical Applications” 1996
Download excerpts as PDF.
PERFORMANCE / PROJECT DOCUMENTATION (Dafna Naphtali):
Live Sound Processing and Improvisation — performances with duos, trios and larger ensembles of improvising musicians with live sound processing and vocals by Dafna Naphtali. Collaborations, performances and recordings since 1996 with artists such as Hans Tammen (Mechaniques), Jen Baker, Ras Moshe, Gordon Beeferman, Chuck Bettis, Edith Lettner, Collision (with Daniel Carter), Kathleen Supové and others. see www.dafna.info
Audio Chandelier multi-channel sound projects — www.audiochandelier.com
8-32 audio channels presented as performances and installations internationally since 2010, including Symposium iX in Montreal at Société Des Arts Technologique. Following a 2019 Harvestworks Project Residency new work was created in collaboration with metalsmith Ayala Naphtali in a Audio Chandelier: Polyélaios, to be installed and presented on Governors Island, May-July 2021 by Harvestworks.
Walkie Talkie Dreams — interactive location-based soundwalk compositions in New York and Germany, with sites in Washington Square Park in New York City, the Williamsburg waterfront in Brooklyn and Hamburg Germany. Created in collaboration with programmer Richard Rodkin (creator of U-GRUVE AR audio augmented reality platform using a Unity Game engine). Participant listeners walk through the designated areas using a free iOS/Android app and headphones to experience specially designed layering of processed field recordings and additional sounds, creating a dynamic electroacoustic composition in conjunction with overheard sounds, driven by GPS location of the listener.
• Walkie Talkie Dream Garden — at Williamsburg, Brooklyn waterfront (launched Sept 2018, ongoing) wtdg.org
• Walkie Talkie Dream Garden — in Wilhelmsburg/Hamburg, Germany (launched June 2018, ongoing) walkietalkiedreams.org
• Walkie Talkie Dream Angles — in Washington Square Park (launched Fall 2016, ongoing) www.tinyurl.com/wtda18
Documentation of soundwalks in Hamburg and Williamsburg Brooklyn:
Clip Mouth Unit — duo project with trombonist Jen Baker (trombone, multiphonics) and Naphtali (voice, live processing of voice and trombone). The duo has created a unique open score encompassing their shared techniques for processing and sound modification in improvisation. www.clipmouthunit.com
DISCOGRAPHY:
Pulsing Dot (CLANG, 2017) live sound processing / voice in duo with pianist Gordon Beeferman
Fenestrae (2019) duo with Hans Tammen electronics/voice/guitar (Nachtstück Records)
Silver Shift (2016) solo electroacoustic works (Bandcamp)
Index of Refraction (Acheulian Handaxe 2016), duo with percussionist Luis Tabuenca (Barcelona)
Chatter Blip (Acheulian Handaxe, Nov. 2009) duo with voice/electronics artist Chuck Bettis)
Mechanique(s) Trio (Acheulian Handaxe) w/ Hans Tammen (endangered guitar), Martin Speicher (saxophone)
What is it Like to be a Bat? (Tzadik 2003) with Kitty Brazelton, Danny Tunick (4 Stars, All Music Guide)
https://www.allmusic.com/album/what-is-it-like-to-be-a-bat-mw0000596991
Dance of 1000 Heads (Tellus 1996) – featured vocalist on CD by composer José Halac
Alternative Schubertiade (CRI 1999) – vocalist on Brazelton’s arrangement of Trout Quintet “Fishy Wishy”)
Machines and Memory (in-progress, to be completed mid-2018) compositions since 2010 for robotic instruments, solo voice, vocal sextet, unusual instrumentations of chamber group, live electronics and processing.