I am a singer/songwriter/producer from Palo Alto, California. I fiddled around on the piano when I was five years old thanks to my sister teaching me the chords and base to heart and soul. Then, I started guitar lessons later in elementary school, and my guitar teacher introduced me to production and music theory once I got to middle school. At the same time, I took Choir to fulfill the arts credit while avoiding alleged homework assignments from choosing a band. The rest was history as I honed my voice towards choral performance, eventually participating in several competitive choral and acapella groups, turning my love for music into the start of a profession with various music camps, honors/ap music courses, and creating music for fun with a friend of mine. Since then, school has taken the reins and I have been sharpening my newly acquired computer science skills along with occasional chances to get active for music assignments. While I haven’t been singing or creating music as much in the last year, music tech classes have kept me sharp and super enthused in new ways that go hand in hand with programming projects and topics that excite me.
DETECTING WESTERN RHYTHMIC DIVISIONS IN GLOBAL TEMPO ESTIMATION TASKS
According to Tyler, this is the most professional research he has done in his time at Northeastern University. A team project for the course Music and The Brain Research with Psyche Loui, Tyler felt his roles in the research were pivotal and his contributions exciting. While teammate Emma McGonigle took the lead on the statistical analyses and results section, Tyler took the directive in redesigning the experiment design proposed by previous research, with the stimuli design, alternative answer choices, and exploratory analysis insights being almost all ideas of his own. Hence, Tyler wrote the code for the stimuli creation and annotation, generated exploratory figures, and wrote most of the stimuli and exploratory analysis/discussion sections. The group worked well together and every author made great contributions.
Effect of Infra-Harmonic Pitch Distribution on Timbral Perception and Evidence of abstract coding for memory
From freshman year, this was one of the first pieces Tyler Furrier made for an assignment in his time at Northeastern University. For the class Music in Everyday Life, students were tasked with creating some audio composition from samples collected in their everyday life. Tyler’s assignment submission was as follows: “When I thought about which sounds encapsulate my daily life I found some quick cliches like the T or cars honking. You can hear the classic T voice and the announcement “ding” which I turned into an instrument as heard in the intro. I realized that the majority of my time is spent inside and a large portion of my out-of-control screen time is social media platforms like Tik Tok. I had some tik toks that I was looking to sample. I had just found one of a marching band, I really liked the chords and texture so I used that. I needed more so I recorded in Marino where I workout frequently. I realized the sound of a weight being racked onto the bar has a really cool rhythmic snippy sound as well as surprisingly clean bell-like timbral depth. I quickly recorded these sounds, and unintentionally got an even better gem. You can hear two different takes working as bell-like drums with one of them pitched down. Along with this, on the fourth beat of every fourth bar you can hear me sliding on and clipping in the safety clip that goes on after the weights, I warped this one but it was almost rhythmically perfect anyways. Finally, I recorded a crackhead yelling and chopped that up. You can hear it sprinkled all around the song and used as high pitch rhythmic elements in the second chorus. I used a Travis Scott-type vocal filter on these which is funny but also ideal since it helps expand the timbre.”
CoEl Song
Undated
This work was the last song Tyler made for an assignment. For a quick listen, he recommends skipping to 2:50. Like any song he produces, he still feels there is unfinished work and parts that need fixing. However, he felt that his ability to sonically balance so many concurrent sounds was a skill that he developed throughout his time in the Music Technology program.