This article elaborates on the new media musical project The Matter of the Soul: its background, theoretical approach, methods and realization. The Matter of the Soul is a musical, sculptural and performance work. It aims to engender empathy in humans with the process of dispersal and transformation in the Arctic amid the climate crisis. The work draws an analogy between human migration, the movement of water from ice to ocean in the Arctic and changing identity online.
{"title":"Sounding Dispersal as a Route to Empathy with the Changing Arctic","authors":"K. Austen","doi":"10.1162/lmj_a_01054","DOIUrl":"https://doi.org/10.1162/lmj_a_01054","url":null,"abstract":"This article elaborates on the new media musical project The Matter of the Soul: its background, theoretical approach, methods and realization. The Matter of the Soul is a musical, sculptural and performance work. It aims to engender empathy in humans with the process of dispersal and transformation in the Arctic amid the climate crisis. The work draws an analogy between human migration, the movement of water from ice to ocean in the Arctic and changing identity online.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01054","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41615662","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 author reports on the development of an original piece, Boott Mill (Lowell), in which he takes field recordings of loom machines from the Boott Mill Museum in Lowell, Massachusetts, and uses the recordings as the foundation for a fully realized composition featuring percussion, strings, keyboards and assorted musical textures.
{"title":"The Loom Machines of Boott Mill (Lowell): A Composition from the New England Soundscape Project","authors":"Daniel A. Walzer","doi":"10.1162/lmj_a_01063","DOIUrl":"https://doi.org/10.1162/lmj_a_01063","url":null,"abstract":"The author reports on the development of an original piece, Boott Mill (Lowell), in which he takes field recordings of loom machines from the Boott Mill Museum in Lowell, Massachusetts, and uses the recordings as the foundation for a fully realized composition featuring percussion, strings, keyboards and assorted musical textures.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41811795","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}
Nam June Paik was a pioneering creator of interactive sound art before he became a cult figure in the field of video art. While Paik gradually developed interactive sound art in West Germany, he wrote several articles about contemporary music in Europe. Specifically, a musique concrète article for Korean readers is significant as a seed of his interactive projects. This study examines the content of the music article and articulates the relationship between musique concrète and Paik’s interactive sound projects: Record Shashlik (1963) and Random Access (1963).
{"title":"Nam June Paik’s Unpublished Korean Article and His Interactive Musique Concrète Projects","authors":"Byeongwon Ha","doi":"10.1162/lmj_a_01071","DOIUrl":"https://doi.org/10.1162/lmj_a_01071","url":null,"abstract":"Nam June Paik was a pioneering creator of interactive sound art before he became a cult figure in the field of video art. While Paik gradually developed interactive sound art in West Germany, he wrote several articles about contemporary music in Europe. Specifically, a musique concrète article for Korean readers is significant as a seed of his interactive projects. This study examines the content of the music article and articulates the relationship between musique concrète and Paik’s interactive sound projects: Record Shashlik (1963) and Random Access (1963).","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01071","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49137826","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}
This text presents a compact historical survey of musical borrowing and sound appropriation from medieval chant through the latest digital experiments outside popular music involving extensive use of sampling. It then describes two artistic research projects consisting of a series of pieces that digitally reimagine selected works from the classical music repertoire, including thoughts about the contemporary relevance of giving new life to classical music through the perspective of new media.
{"title":"Sound Appropriation and Musical Borrowing as a Compositional Tool in New Electroacoustic Music","authors":"J. Vasquez","doi":"10.1162/lmj_a_01070","DOIUrl":"https://doi.org/10.1162/lmj_a_01070","url":null,"abstract":"This text presents a compact historical survey of musical borrowing and sound appropriation from medieval chant through the latest digital experiments outside popular music involving extensive use of sampling. It then describes two artistic research projects consisting of a series of pieces that digitally reimagine selected works from the classical music repertoire, including thoughts about the contemporary relevance of giving new life to classical music through the perspective of new media.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01070","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41894624","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}
This text analyzes the process of composing and improvising the musical experiment Flow Vertical. This artistic exploration for chamber orchestra responds to a theory of biosignals, incorporating a putative sonic mapping of “inaudible” sound vibration of the author’s biofield as understood to be measured by an SCIO device. The interpretation and represent ation of measured frequencies influenced the creation of an “assemblage,” the system of interconnected human and nonhuman agents within the piece. The artist applied an original eight-week-long method of creation, investigating how this idea of body vibration and a specific yogic routine could aesthetically affect music.
{"title":"Flow Vertical: Composing and Improvising Original Music Inspired by Bodily Sound Vibrations","authors":"J. Jovicevic","doi":"10.1162/lmj_a_01068","DOIUrl":"https://doi.org/10.1162/lmj_a_01068","url":null,"abstract":"This text analyzes the process of composing and improvising the musical experiment Flow Vertical. This artistic exploration for chamber orchestra responds to a theory of biosignals, incorporating a putative sonic mapping of “inaudible” sound vibration of the author’s biofield as understood to be measured by an SCIO device. The interpretation and represent ation of measured frequencies influenced the creation of an “assemblage,” the system of interconnected human and nonhuman agents within the piece. The artist applied an original eight-week-long method of creation, investigating how this idea of body vibration and a specific yogic routine could aesthetically affect music.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01068","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48482882","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}
This article provides an overview of a real-time, hybrid computational system for the violin, Windowless. The system uses a custom sensor glove, the alto.glove, to track the violinist’s movements and drive a panoply of unique digital sound processing effects. The author describes the operations of the system in terms of a broad notion of synthesis, consis-tency, microintervallic motions and molecular operations. A threefold approach combining dense sonic physics, “loose” computational procedures and high system responsiveness creates a rich and thick performative medium with a vapor-like, particulate level of textural and bitwise computational detail.
{"title":"A Computational System for Violin: Synthesis and Dissolution in Windowless","authors":"S. Thorn","doi":"10.1162/lmj_a_01062","DOIUrl":"https://doi.org/10.1162/lmj_a_01062","url":null,"abstract":"This article provides an overview of a real-time, hybrid computational system for the violin, Windowless. The system uses a custom sensor glove, the alto.glove, to track the violinist’s movements and drive a panoply of unique digital sound processing effects. The author describes the operations of the system in terms of a broad notion of synthesis, consis-tency, microintervallic motions and molecular operations. A threefold approach combining dense sonic physics, “loose” computational procedures and high system responsiveness creates a rich and thick performative medium with a vapor-like, particulate level of textural and bitwise computational detail.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01062","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47623189","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}
This paper describes the Rhythmotron: a percussion-centered robotic orchestrion, commissioned for the CoLABS festival in Sydney in 2017. The authors describe how they electronically reimagined the mechanical components of a cylinder piano by using a variant of the XronoMorph software, and they consider the synergy between algorithmically generated rhythms in a digital environment alongside its analogous mechanical counterpart. The authors detail the idiosyncratic behaviors of linear actuators when used to power drumming robots, and they discuss the aesthetic implications of the Rhythmotron.
{"title":"The Rhythmotron","authors":"John R. Taylor, A. Milne","doi":"10.1162/lmj_a_01066","DOIUrl":"https://doi.org/10.1162/lmj_a_01066","url":null,"abstract":"This paper describes the Rhythmotron: a percussion-centered robotic orchestrion, commissioned for the CoLABS festival in Sydney in 2017. The authors describe how they electronically reimagined the mechanical components of a cylinder piano by using a variant of the XronoMorph software, and they consider the synergy between algorithmically generated rhythms in a digital environment alongside its analogous mechanical counterpart. The authors detail the idiosyncratic behaviors of linear actuators when used to power drumming robots, and they discuss the aesthetic implications of the Rhythmotron.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42988797","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}
DNA encodes all sorts of information that makes us human, but, aside from encoding genes, could DNA also encode for a mapping of musical rhythms in a very abstract way? This project sought to generate rhythms out of DNA and compose a musical piece out of a gene's rhythmic sequence. Computational rules inspired by geometric analyses of rhythms guided the mapping of DNA's molecular structure into rhythmic timelines and melodic scales; these basic structures were then used to compose a song according to the sickle cell gene DNA sequence. The rhythms generated by this ‘genetic analysis’ alternate pleasantly between even and odd time signatures.
{"title":"The Musical Geometry of Genes: Generating Rhythms from DNA","authors":"Alvaro Yanez","doi":"10.1162/lmj_a_01052","DOIUrl":"https://doi.org/10.1162/lmj_a_01052","url":null,"abstract":"DNA encodes all sorts of information that makes us human, but, aside from encoding genes, could DNA also encode for a mapping of musical rhythms in a very abstract way? This project sought to generate rhythms out of DNA and compose a musical piece out of a gene's rhythmic sequence. Computational rules inspired by geometric analyses of rhythms guided the mapping of DNA's molecular structure into rhythmic timelines and melodic scales; these basic structures were then used to compose a song according to the sickle cell gene DNA sequence. The rhythms generated by this ‘genetic analysis’ alternate pleasantly between even and odd time signatures.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01052","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44655227","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}
An audio feedback system that iteratively uses a room as a sound filter can be an artistic medium generating fascinating sounds. In this system, the room is not the only component acting as a filter. The sound system component, i.e. the speaker and microphone, also can have a sizeable impact on the sound in each iteration. To make sure the relative influence of the room on the sound is revealed and not masked by the audio system, the author proposes using a common calibration method at the end of each iteration. The mathematical model of the system is used to explain the reasoning behind the use of this method. Following this procedure, the author conducted an experiment that shows sound interaction with the room over time being captured in the artwork.
{"title":"Reducing the Effect of Imperfect Microphone and Speaker in Audio Feedback Systems","authors":"Lilac Atassi","doi":"10.1162/lmj_a_01060","DOIUrl":"https://doi.org/10.1162/lmj_a_01060","url":null,"abstract":"An audio feedback system that iteratively uses a room as a sound filter can be an artistic medium generating fascinating sounds. In this system, the room is not the only component acting as a filter. The sound system component, i.e. the speaker and microphone, also can have a sizeable impact on the sound in each iteration. To make sure the relative influence of the room on the sound is revealed and not masked by the audio system, the author proposes using a common calibration method at the end of each iteration. The mathematical model of the system is used to explain the reasoning behind the use of this method. Following this procedure, the author conducted an experiment that shows sound interaction with the room over time being captured in the artwork.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43033329","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 author discusses his use of generative three-dimensional notations for representing musical forms. Several key works, programmed in the Max/OpenGL platform, are described in detail, and the author discusses current development with Microsoft’s HoloLens. The author argues that such immersive technology promotes a physical engagement with the score in which the work is an emergent property of an open-ended play.
{"title":"3D Notations and the Immersive Score","authors":"David Kim-Boyle","doi":"10.1162/lmj_a_01061","DOIUrl":"https://doi.org/10.1162/lmj_a_01061","url":null,"abstract":"The author discusses his use of generative three-dimensional notations for representing musical forms. Several key works, programmed in the Max/OpenGL platform, are described in detail, and the author discusses current development with Microsoft’s HoloLens. The author argues that such immersive technology promotes a physical engagement with the score in which the work is an emergent property of an open-ended play.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01061","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49518601","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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