Abstract The author recounts how she came to carry out artistic research on guitar multiphonics when composing a piece for solo guitar. She explains how the investigation gave rise to a new form of usage of that unconventional technique.
{"title":"The Presence of a Mysterious Black Silhouette: From a Print to a New Form of Usage of Guitar Multiphonics","authors":"Rita Torres","doi":"10.1162/lmj_a_01083","DOIUrl":"https://doi.org/10.1162/lmj_a_01083","url":null,"abstract":"Abstract The author recounts how she came to carry out artistic research on guitar multiphonics when composing a piece for solo guitar. She explains how the investigation gave rise to a new form of usage of that unconventional technique.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"30 1","pages":"73-78"},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48174932","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sonic Commentary: Who The Hell Do You Think You Are?","authors":"Andy Meyerson","doi":"10.1162/LMJ_A_01105","DOIUrl":"https://doi.org/10.1162/LMJ_A_01105","url":null,"abstract":"","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"30 1","pages":"120-120"},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46701986","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The abstraction of musical structures as mathematical objects in a geometrical space is one of the major accomplishments of contemporary music theory. The author generalizes the concept of musical spaces as networks and derives compositional design principles via network topology analysis. This approach provides a framework for analysis and quantification of similarity of musical objects and structures and suggests a way to relate such measures to human perception of different musical entities. Finally, network analysis provides alternative ways of interpreting the compositional process by quantifying emergent behaviors with well-established statistical mechanics. Interpreting the latter as probabilistic randomness in the network, the author develops novel compositional design frameworks.
{"title":"Topology of Networks in Generalized Musical Spaces","authors":"Marco Buongiorno Nardelli","doi":"10.1162/lmj_a_01079","DOIUrl":"https://doi.org/10.1162/lmj_a_01079","url":null,"abstract":"The abstraction of musical structures as mathematical objects in a geometrical space is one of the major accomplishments of contemporary music theory. The author generalizes the concept of musical spaces as networks and derives compositional design principles via network topology analysis. This approach provides a framework for analysis and quantification of similarity of musical objects and structures and suggests a way to relate such measures to human perception of different musical entities. Finally, network analysis provides alternative ways of interpreting the compositional process by quantifying emergent behaviors with well-established statistical mechanics. Interpreting the latter as probabilistic randomness in the network, the author develops novel compositional design frameworks.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"15 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138541871","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
active imaginative one during which we synthesize multidimensional, endogenous environments in which memory tracings form and are inscribed, making personal times with histories, nows and futures. Plentiful invitations for rich explorations await the reader of this LMJ issue. And, profoundly so, this one challenges us to listen hard—listen to sounds, yes, and also listen to challenging ideas and points of view. As we confront the multilayered forces of change in our current environments, open imaginative reading and listening become important sources of hope and guidance for actions directed at positive evolution. We can imagine ourselves taking on the listening roles of Amazon creatures in Luca Forcucci’s field recordings. Notably, Forcucci’s process includes allowing time for nature to absorb human presence in its midst before recording and invokes deep listening as a fundamental skill. In addition to hearing these captured soundscapes, imagine if we could develop the listening skills of the animals making those sounds while they adapt to the changing forces in their environments. Might this help us understand our own environments better and address the sound pollution surrounding us that dampens our hearing? From this perspective, Forcucci also heightens our awareness of how presentation spaces interact with music creation. The universe of gesture, wherein the origins of language might lie, and where music and dance are undifferentiated and inseparable, is brought to light in Daniel Portelli’s investigations of gestural line and shape in multimodal compositional practice. Portelli explores the transformation of these shapes and how to record and present them as means for generating meaning in multimodal scores. Marco Buongiorno Nardelli’s work on generalized networks is one from which the imagination can spring. This article provides an excellent tutorial on network theory, using commonly understood musical materials. The topic of networks and networking is one of enormous breadth and importance today. It is easy to imagine how a huge range of differentiated entities in perception and conception can be placed at the nodes of such networks in generalized spaces. The tools that may emerge from this realm of music theory can be generalized and applied to endlessly expanding arrays of artistic interactions and human understandings. Though the connections may not be overtly explicit, I am intrigued to speculate on subjects emerging in three papers that involve the dichotomous meanings of subjective and objective, endogenous and exogenous, conceptual and perceptual, sensory and cognitive, continuous and discrete, and in-time versus outside-time. Nora Engebretsen’s paper brings a new approach to timbre in musical analysis that acknowledges both its perceptual and acoustical bases as fundamental. Engebretsen doesn’t directly address the idea of semantics in music but does discuss the conveyance of musical meaning through timbre. This work brings new i
{"title":"Active Imaginative Reading . . . and Listening","authors":"David Rosenboom","doi":"10.1162/lmj_a_01085","DOIUrl":"https://doi.org/10.1162/lmj_a_01085","url":null,"abstract":"active imaginative one during which we synthesize multidimensional, endogenous environments in which memory tracings form and are inscribed, making personal times with histories, nows and futures. Plentiful invitations for rich explorations await the reader of this LMJ issue. And, profoundly so, this one challenges us to listen hard—listen to sounds, yes, and also listen to challenging ideas and points of view. As we confront the multilayered forces of change in our current environments, open imaginative reading and listening become important sources of hope and guidance for actions directed at positive evolution. We can imagine ourselves taking on the listening roles of Amazon creatures in Luca Forcucci’s field recordings. Notably, Forcucci’s process includes allowing time for nature to absorb human presence in its midst before recording and invokes deep listening as a fundamental skill. In addition to hearing these captured soundscapes, imagine if we could develop the listening skills of the animals making those sounds while they adapt to the changing forces in their environments. Might this help us understand our own environments better and address the sound pollution surrounding us that dampens our hearing? From this perspective, Forcucci also heightens our awareness of how presentation spaces interact with music creation. The universe of gesture, wherein the origins of language might lie, and where music and dance are undifferentiated and inseparable, is brought to light in Daniel Portelli’s investigations of gestural line and shape in multimodal compositional practice. Portelli explores the transformation of these shapes and how to record and present them as means for generating meaning in multimodal scores. Marco Buongiorno Nardelli’s work on generalized networks is one from which the imagination can spring. This article provides an excellent tutorial on network theory, using commonly understood musical materials. The topic of networks and networking is one of enormous breadth and importance today. It is easy to imagine how a huge range of differentiated entities in perception and conception can be placed at the nodes of such networks in generalized spaces. The tools that may emerge from this realm of music theory can be generalized and applied to endlessly expanding arrays of artistic interactions and human understandings. Though the connections may not be overtly explicit, I am intrigued to speculate on subjects emerging in three papers that involve the dichotomous meanings of subjective and objective, endogenous and exogenous, conceptual and perceptual, sensory and cognitive, continuous and discrete, and in-time versus outside-time. Nora Engebretsen’s paper brings a new approach to timbre in musical analysis that acknowledges both its perceptual and acoustical bases as fundamental. Engebretsen doesn’t directly address the idea of semantics in music but does discuss the conveyance of musical meaning through timbre. This work brings new i","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"30 1","pages":"1-2"},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01085","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48227147","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Stowaway City is an immersive audio experience that combines electroacoustic composition and storytelling with extended reality. The piece was designed to accommodate multiple listeners in a shared auditory virtual environment. Each listener, based on their tracked position and rotation in space, wirelessly receives an individual binaurally decoded sonic perspective via open-back headphones. The sounds and unfolding narrative are mapped to physical locations in the performance area, which are only revealed through exploration and physical movement. Spatial audio is simultaneously presented to all listeners via a spherical loudspeaker array that supplements the headphone audio, thus forming a hybrid listening environment. The work is presented as a conceptual and technical design paradigm for creative sonic application of the technology in this medium. The author outlines a set of strategies that were used to realize the composition and technical affordances of the system.
{"title":"Stowaway City: An Immersive Audio Experience for Multiple Tracked Listeners in a Hybrid Listening Environment","authors":"Michael McKnight","doi":"10.1162/lmj_a_01091","DOIUrl":"https://doi.org/10.1162/lmj_a_01091","url":null,"abstract":"Abstract Stowaway City is an immersive audio experience that combines electroacoustic composition and storytelling with extended reality. The piece was designed to accommodate multiple listeners in a shared auditory virtual environment. Each listener, based on their tracked position and rotation in space, wirelessly receives an individual binaurally decoded sonic perspective via open-back headphones. The sounds and unfolding narrative are mapped to physical locations in the performance area, which are only revealed through exploration and physical movement. Spatial audio is simultaneously presented to all listeners via a spherical loudspeaker array that supplements the headphone audio, thus forming a hybrid listening environment. The work is presented as a conceptual and technical design paradigm for creative sonic application of the technology in this medium. The author outlines a set of strategies that were used to realize the composition and technical affordances of the system.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"30 1","pages":"33-37"},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01091","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46629408","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Zachary James Watkins, Davia Spain, Raven Chacon, Leroy F. Moore, Juba Kalamka, Ava Mendoza, Star Amerasu, Sharmi Basu, Chella Coleman, M. Sage, Mateas, Morgan Craft
{"title":"Notes on LMJ30 audio tracks","authors":"Zachary James Watkins, Davia Spain, Raven Chacon, Leroy F. Moore, Juba Kalamka, Ava Mendoza, Star Amerasu, Sharmi Basu, Chella Coleman, M. Sage, Mateas, Morgan Craft","doi":"10.1162/LMJ_A_01106","DOIUrl":"https://doi.org/10.1162/LMJ_A_01106","url":null,"abstract":"","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"30 1","pages":"121-124"},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47111037","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract How do creative sound practices function in the context of socially engaged art? Toward developing a practical methodology, this paper focuses on sound-led projects that stage socially engaged art practice in community settings, including some involving the author. Aesthetics, ethics and politics are employed as interrogative lenses for distributed creative processes. Methods for collaborative art-making that facilitate a balance between these lenses are discussed, with the author further arguing the necessity of artistic “disruption.” Such sociosonic interventions are demonstrated to occur most effectively when sound practices challenge the paradigm of unidirectional audial reproduction: rupturing traditional hierarchies of creator and listener.
{"title":"Sociosonic Interventions: Distributed Authorship in Socially Engaged Sound Practices","authors":"Tullis Rennie","doi":"10.1162/lmj_a_01102","DOIUrl":"https://doi.org/10.1162/lmj_a_01102","url":null,"abstract":"Abstract How do creative sound practices function in the context of socially engaged art? Toward developing a practical methodology, this paper focuses on sound-led projects that stage socially engaged art practice in community settings, including some involving the author. Aesthetics, ethics and politics are employed as interrogative lenses for distributed creative processes. Methods for collaborative art-making that facilitate a balance between these lenses are discussed, with the author further arguing the necessity of artistic “disruption.” Such sociosonic interventions are demonstrated to occur most effectively when sound practices challenge the paradigm of unidirectional audial reproduction: rupturing traditional hierarchies of creator and listener.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"30 1","pages":"109-113"},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46069904","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction to Special Section: Sound as Evidence","authors":"M. Søndergaard","doi":"10.1162/lmj_a_01096","DOIUrl":"https://doi.org/10.1162/lmj_a_01096","url":null,"abstract":"","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"30 1","pages":"84-84"},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64407674","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The author introduces the concept of looking without seeing to describe the layered use of technology required to experience microorganisms during the making of The Stars Beneath Our Feet: an audiovisual installation for Lumiere Durham, a four-day international light festival produced by Artichoke in the U.K. First, the author describes the experience of technological layering when attempting to perceive microorganisms in the visual field and then the methodology adopted to determine how the same microorganisms might be perceived in the auditory field. The conclusion describes the author's sense of being with the organism as a form of constructed perception in the context of “looking for” and “listening for” microorganisms through an expanded technological frame.
{"title":"Microbial Sensing: Constructing Perception through Technological Layers","authors":"L. Mackenzie","doi":"10.1162/lmj_a_01101","DOIUrl":"https://doi.org/10.1162/lmj_a_01101","url":null,"abstract":"Abstract The author introduces the concept of looking without seeing to describe the layered use of technology required to experience microorganisms during the making of The Stars Beneath Our Feet: an audiovisual installation for Lumiere Durham, a four-day international light festival produced by Artichoke in the U.K. First, the author describes the experience of technological layering when attempting to perceive microorganisms in the visual field and then the methodology adopted to determine how the same microorganisms might be perceived in the auditory field. The conclusion describes the author's sense of being with the organism as a form of constructed perception in the context of “looking for” and “listening for” microorganisms through an expanded technological frame.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"30 1","pages":"104-108"},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44489754","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract De Rerum Natura is an electroacoustic composition by the author, based on field recordings from the Brazilian Amazon rainforest. The piece is part of wider research from the author that explores the act of listening, associated visual mental imagery and dynamic subjective links between the composer's experience of listening to/recording experience of the original material and the audience's perception of the final composition as it is performed. This article focuses on the author's process of developing De Rerum Natura, based on Deep Listening. De Rerum Natura also examines the merging of the composition with the acoustics of the performance space.
De Rerum Natura是作者根据巴西亚马逊雨林的现场录音创作的电声作品。该作品是作者更广泛研究的一部分，该研究探索了聆听行为，相关的视觉心理意象以及作曲家听/录制原始材料的体验与观众在演奏时对最终作品的感知之间的动态主观联系。本文主要讲述了作者在“深度倾听”的基础上创作“自然之物”的过程。De Rerum Natura还研究了作曲与表演空间声学的融合。
{"title":"Deep Listening to the Amazon Rainforest through Sonic Architectures","authors":"Luca Forcucci","doi":"10.1162/lmj_a_01090","DOIUrl":"https://doi.org/10.1162/lmj_a_01090","url":null,"abstract":"Abstract De Rerum Natura is an electroacoustic composition by the author, based on field recordings from the Brazilian Amazon rainforest. The piece is part of wider research from the author that explores the act of listening, associated visual mental imagery and dynamic subjective links between the composer's experience of listening to/recording experience of the original material and the audience's perception of the final composition as it is performed. This article focuses on the author's process of developing De Rerum Natura, based on Deep Listening. De Rerum Natura also examines the merging of the composition with the acoustics of the performance space.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"30 1","pages":"24-28"},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42484342","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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