Page  1 ï~~APPLICATIONS OF GEOSCII PRELIMINARY RESULTS WI Samantha Brough (MA R Dept. Music, School of Per], Studies, Faculty of Arts& Kingston Univers perc exci ABSTRACT Geoscientific data is sonified using a series of simple mapping transformations and interpretive algorithms. The resultant musical sampled, output relates the geologic phenomena interpretation. providing means for Rec mai boti para the The computer assisted compositions use MIDI (Musical Instrument Digital Interface) controllers and interpretive algorithms generate and synthesise nte V VJ j I I

Page  2 ï~~Depth/ti me Tool 1 Tool 2 Tool 3 Tool 4 I&IL I mam In I;V I.N -'"IN Ilz v Figure 1: Schematic of mapping workflow from data in depth and time to them musical output. Tool name Measurement Depth Depth reference (m) Gamma (GR) Radioactivity of rocks (API units) Spontaneous Potential of rocks to conduct a potential (SP) current (mV) 4.2. Ma dig 11,1A. I

Page  3 ï~~included, ensures unique performance, despite the 5.2. overall musical discourse operating essentially closed system. The soni Tool Mapping Musical attribute Log values Data values from 10-2 Pic scaled st (Res, quartet diatonic, C2-E6, U, chromatic ring sing S& 5.2. Higl limi quie mice relal Ndj, DT) quarter tone increments. re Depth Resolution that data are heard at reflects depth. 4000 m scaled to ca. 30 minutes Time meter relal T I DT Averaged data value Note duration acot pros mor sci over intervals of interest i i i

Page  4 ï~~audible within the musical output. There are instances of "null data, where, for technical reasons a tool has failed record a small volume of data. These skips the depth series translate into skips, or "misplaced" silences in the flow of the music. These also contribute towards a unique performance. CONCLUSIONS These compositional outputs suggest that sonified geoscientific data may be an alternate interpretation tool. It appears possible identify different lithologies, and potentially discern fluids within these. These outputs highlight some of the applications for computer assisted compositional work in this area. There is a plethora of possibilities for more automated mappings and detailed interpretive algorithms in developing a more automated esized output. Preliminary musical results are interesting, from both an interpretive perspective, and in