Sluicer (2023-curr.)

SFFX (2022-curr.)
Quarries (2016-22)
Sifting (2018-21)
Outwash (2019)
Rhythm Studies (2017-18)
Substitutions (2015)
Missents (2015)
Multipass (2015)
Emerald Tablets (2014)
10K Descents (2014)
Impellent (2012-14)
Locks (2013-14)
Adder (2012-13)
Sieves (2011-12)

Selected discography


Shawn Greenlee is a composer, sound artist, and Professor at Rhode Island School of Design (RISD) where he leads the Studio for Research in Sound & Technology (SRST).  His recent work explores spatial audio, high density loudspeaker arrays, and erratic sound synthesis techniques.

Greenlee has been active as a solo electronic / electroacoustic improvisor since 1997 and has toured extensively across the US and Europe. Conference and festival performances include New Interfaces for Musical Expression (2018 Blacksburg, 2015 Baton Rouge, 2014 London, 2013 Daejeon), International Computer Music Conference (2021 Santiago, 2018 Daegu, 2011 Huddersfield, 2005 Barcelona), BEAST FEaST (2017 Birmingham), PdCon16 (2016 New York), Cube Fest (2019, 2016 Blacksburg), Re-new (2013 Copenhagen), IN TRANSIT (2008 Berlin), and Elevate (2007 Graz), among others.

Greenlee’s solo and group discography spans over fifty releases. He is a founding member of Landed, active since 1997 and known for its deconstructed rock, rhythmic noise, and intense live performances. From 1999-2001, he performed with Six Finger Satellite.

Greenlee holds a Ph.D. in Computer Music and New Media from Brown University

Rhythm Studies (2017-18)

During my 2017-18 sabbatical, I developed a piece of software for composing rhythms, largely based on the ideas presented in Godfried T. Toussaint’s book The Geometry of Musical Rhythm. One of the featured techniques in the book is the application of the Euclidean algorithm. For instance, the aim is to distribute onsets (hits) among pulses (steps) as evenly as possible.

While the use of the euclidean algorithm is not a new idea  in music composition, my software provides the means to input any combination of onsets and pulses with calculation of the Euclidean rhythm accompanied by a graphic representation of the onset and pulse geometries.  This allows for the fast creation of polymetric polyrhythms. It also allows overrides for onsets and pulses, setting individual onset velocities (strength of hit), and other customizations. My variation on Toussaint’s main concept is to go beyond one rhythmic stream by providing several.  Each can have its own number of pulses and onsets. Data from my software can be sent to any software application that accepts MIDI inputs. While drum and percussion tracks are the obvious target, the data is useful for any type of sequencing.