Leonardo, Erin Morton, T. Edensor, Derek Sayer, I. Blom, T. Lun, E. Røssaak, A. Lees, G. Stein, Jeff Solomon, C. Kelly
s 2017,” Leonardo 51, No. 5 (2018).
s 2017，”莱昂纳多51,No. 5(2018)。
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LMJ in 1997, he articulated several goals for the journal. One was to have a theme for each issue—a difficult challenge but one that he maintained consistently throughout his long tenure. The cutting-edge themes he designed created connections between existing research initiatives and also encouraged new efforts and voices. He also encouraged new voices by bringing greater diversity and inclusivity to LMJ. He encouraged submissions from underrepresented regions, most dramatically with “Southern Cones: Music out of Africa and South America” [1]. He supported the research of younger scholars with “<40: Emerging Voices” [2] and strove for gender balance in the journal and on the editorial board. In addition, he actively included nonacademics to write, curate and contribute recordings. This demand for diversity of voices supported his aim for diversity of ideas, and he brought a wide variety of works inspired by and dependent upon interdisciplinarity to an expanded LMJ community. One could say that the blurring of lines between sound, art and music that we take for granted in the field today is partly due to Nic’s editorial foresight. While I only worked with Nic for a short time, starting on the LMJ editorial board in 2012, I was deeply impressed by his creativity as an editor but also by his modesty— which saw him often call his interests “fringe”—and by his generosity to researchers and respect for history and rigor. While this issue is without a theme, it nevertheless moves forward many of the themes explored by LMJ over the years.
{"title":"Leonardo Music Journal 28: Introduction","authors":"Andrea Polli","doi":"10.1162/lmj_e_01034","DOIUrl":"https://doi.org/10.1162/lmj_e_01034","url":null,"abstract":"LMJ in 1997, he articulated several goals for the journal. One was to have a theme for each issue—a difficult challenge but one that he maintained consistently throughout his long tenure. The cutting-edge themes he designed created connections between existing research initiatives and also encouraged new efforts and voices. He also encouraged new voices by bringing greater diversity and inclusivity to LMJ. He encouraged submissions from underrepresented regions, most dramatically with “Southern Cones: Music out of Africa and South America” [1]. He supported the research of younger scholars with “<40: Emerging Voices” [2] and strove for gender balance in the journal and on the editorial board. In addition, he actively included nonacademics to write, curate and contribute recordings. This demand for diversity of voices supported his aim for diversity of ideas, and he brought a wide variety of works inspired by and dependent upon interdisciplinarity to an expanded LMJ community. One could say that the blurring of lines between sound, art and music that we take for granted in the field today is partly due to Nic’s editorial foresight. While I only worked with Nic for a short time, starting on the LMJ editorial board in 2012, I was deeply impressed by his creativity as an editor but also by his modesty— which saw him often call his interests “fringe”—and by his generosity to researchers and respect for history and rigor. While this issue is without a theme, it nevertheless moves forward many of the themes explored by LMJ over the years.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"28 1","pages":"1-2"},"PeriodicalIF":0.2,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_e_01034","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42261077","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":"LMJ28 Audio Tracklist","authors":"N. Helyer, J. Drummond","doi":"10.1162/lmj_e_01048","DOIUrl":"https://doi.org/10.1162/lmj_e_01048","url":null,"abstract":"","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"28 1","pages":"95-95"},"PeriodicalIF":0.2,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_e_01048","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48489784","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 In 1956, Lejaren A. Hiller, Jr., and Leonard Isaacson debuted the Illiac Suite, the first score composed with a computer. Its reception anticipated Hiller’s embattled career as an experimental composer. Though the Suite is an influential work of modern electronic music, Hiller’s accomplishment in computational experimentation is above all an impressive feat of postwar conceptual performance art. A reexamination of theoretical and methodological processes resulting in the Illiac Suite reveals a conceptual and performative emphasis reflecting larger trends in the experimental visual arts of the 1950s and 1960s, illuminating his eventual collaborations with John Cage and establishing his legacy in digital art practices.
{"title":"A Musical Suite Composed by an Electronic Brain: Reexamining the Illiac Suite and the Legacy of Lejaren A. Hiller Jr.","authors":"Tiffany Funk","doi":"10.1162/lmj_a_01037","DOIUrl":"https://doi.org/10.1162/lmj_a_01037","url":null,"abstract":"Abstract In 1956, Lejaren A. Hiller, Jr., and Leonard Isaacson debuted the Illiac Suite, the first score composed with a computer. Its reception anticipated Hiller’s embattled career as an experimental composer. Though the Suite is an influential work of modern electronic music, Hiller’s accomplishment in computational experimentation is above all an impressive feat of postwar conceptual performance art. A reexamination of theoretical and methodological processes resulting in the Illiac Suite reveals a conceptual and performative emphasis reflecting larger trends in the experimental visual arts of the 1950s and 1960s, illuminating his eventual collaborations with John Cage and establishing his legacy in digital art practices.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"28 1","pages":"19-24"},"PeriodicalIF":0.2,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01037","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43475528","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 a soundscape project involving wetland field recordings and an original sound time-lapse method used as the basis for the design and implementation of a sound installation.
摘要:作者介绍了一个涉及湿地现场录音的声景项目，并采用原始声音延时法作为声音装置设计和实施的基础。
{"title":"Listening to Wetland Soundscapes","authors":"F. Otondo","doi":"10.1162/lmj_a_01042","DOIUrl":"https://doi.org/10.1162/lmj_a_01042","url":null,"abstract":"Abstract The author introduces a soundscape project involving wetland field recordings and an original sound time-lapse method used as the basis for the design and implementation of a sound installation.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"28 1","pages":"50-52"},"PeriodicalIF":0.2,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01042","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48854121","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 This article concerns the realization of two sound installations that use a parametric (directional) loudspeaker as a central element of their working systems. The Soundhouse is a rotating structure that projects sounds in a directional way. El bosque y las sombras is instead an interactive multimedia setting where the visitors can trigger sounds and affect a video projection by moving in an enclosed, soundproofed space. A short introduction to parametric loudspeakers is provided; then the concept and the construction aspects of both installations are presented. Finally, an overall aesthetic assessment of the use of parametric loudspeakers in the above works is given.
摘要:本文涉及两个声音装置的实现，它们使用参数(定向)扬声器作为其工作系统的中心元素。声音屋是一个旋转的结构，以一种定向的方式投射声音。相反，El bosque y las sombras是一个交互式多媒体设置，游客可以通过在封闭的隔音空间中移动来触发声音并影响视频投影。简要介绍参数扬声器;然后介绍了这两个装置的概念和施工方面。最后，对上述作品中参数化扬声器的使用进行了整体美学评价。
{"title":"Sound Straight Ahead: Parametric Speakers in Two Soundscape Installations","authors":"Marco Alunno","doi":"10.1162/lmj_a_01043","DOIUrl":"https://doi.org/10.1162/lmj_a_01043","url":null,"abstract":"Abstract This article concerns the realization of two sound installations that use a parametric (directional) loudspeaker as a central element of their working systems. The Soundhouse is a rotating structure that projects sounds in a directional way. El bosque y las sombras is instead an interactive multimedia setting where the visitors can trigger sounds and affect a video projection by moving in an enclosed, soundproofed space. A short introduction to parametric loudspeakers is provided; then the concept and the construction aspects of both installations are presented. Finally, an overall aesthetic assessment of the use of parametric loudspeakers in the above works is given.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"28 1","pages":"60-64"},"PeriodicalIF":0.2,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01043","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43216030","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 After composer and organist Ákos Rózmann (1939–2005) moved from his native Hungary to Sweden in 1971, it became his conviction that instrumental composition had no future, and he committed himself completely to the electroacoustic studio. An important part of Rózmann’s self-characterization and the early reception of his music was the statement that his electroacoustic compositions were the results of working as a spiritual medium. While the author demonstrates the relevance of this statement, he also challenges it by presenting an exception, Black Illusions (2003), Rózmann’s only work admittedly created as a sounding autobiography. He also presents Rózmann’s last finished composition, Organ Piece No. III/a—a “dizygotic twin brother” of Black Illusions—and the differing ways in which the two pieces are related to St. Eric’s Cathedral of Stockholm. One of them thematizes the church as a place of personal earthly suffering, while the other presents it as a symbolic stage of otherworldly processes.
{"title":"Two Faces of a Cathedral: Ákos Rózmann’s Black Illusions and Organ Piece No. III/a","authors":"G. Loch","doi":"10.1162/lmj_a_01038","DOIUrl":"https://doi.org/10.1162/lmj_a_01038","url":null,"abstract":"Abstract After composer and organist Ákos Rózmann (1939–2005) moved from his native Hungary to Sweden in 1971, it became his conviction that instrumental composition had no future, and he committed himself completely to the electroacoustic studio. An important part of Rózmann’s self-characterization and the early reception of his music was the statement that his electroacoustic compositions were the results of working as a spiritual medium. While the author demonstrates the relevance of this statement, he also challenges it by presenting an exception, Black Illusions (2003), Rózmann’s only work admittedly created as a sounding autobiography. He also presents Rózmann’s last finished composition, Organ Piece No. III/a—a “dizygotic twin brother” of Black Illusions—and the differing ways in which the two pieces are related to St. Eric’s Cathedral of Stockholm. One of them thematizes the church as a place of personal earthly suffering, while the other presents it as a symbolic stage of otherworldly processes.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"28 1","pages":"25-29"},"PeriodicalIF":0.2,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01038","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43024228","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 This paper proposes a novel approach to automated music recommendation systems. Current systems use a number of methods, although these are generally based on similarity of content, contextual information or user ratings. These approaches therefore do not take into account relevant, well-established models from the field of music psychology. Given recent evidence of this field’s excellent capacity to predict music preference, we propose a function based on both the Ebbinghaus forgetting curve of memory retention and Berlyne’s inverted-U model to inform recommendation systems through “collative variables” such as exposure/familiarity. According to the model, an intermediate level of these variables should generate relatively high preference and therefore presents significant untapped data for music recommendation systems.
{"title":"Using Psychological Principles of Memory Storage and Preference to Improve Music Recommendation Systems","authors":"Anthony Chmiel, Emery Schubert","doi":"10.1162/lmj_a_01045","DOIUrl":"https://doi.org/10.1162/lmj_a_01045","url":null,"abstract":"Abstract This paper proposes a novel approach to automated music recommendation systems. Current systems use a number of methods, although these are generally based on similarity of content, contextual information or user ratings. These approaches therefore do not take into account relevant, well-established models from the field of music psychology. Given recent evidence of this field’s excellent capacity to predict music preference, we propose a function based on both the Ebbinghaus forgetting curve of memory retention and Berlyne’s inverted-U model to inform recommendation systems through “collative variables” such as exposure/familiarity. According to the model, an intermediate level of these variables should generate relatively high preference and therefore presents significant untapped data for music recommendation systems.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"28 1","pages":"77-81"},"PeriodicalIF":0.2,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01045","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44244852","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 Western voice is historically de-agentialized, that is, gendered female, opposed to performer self-listening, de-privileged relative to composition and rendered ocularcentric by recording technologies. However, by employing sound technologies as prosthesis to the vocal body, and by self-listening to manage the body-prosthesis relationship, contemporary extended voice practitioners figure as cyborgs reclaiming vocal agency, that is, input into mediation of and by one’s technologized vocal body.
{"title":"Sound Technologies as Agency-Granting Prosthesis to Vocal Body","authors":"Kristina Warren","doi":"10.1162/lmj_a_01039","DOIUrl":"https://doi.org/10.1162/lmj_a_01039","url":null,"abstract":"Abstract Western voice is historically de-agentialized, that is, gendered female, opposed to performer self-listening, de-privileged relative to composition and rendered ocularcentric by recording technologies. However, by employing sound technologies as prosthesis to the vocal body, and by self-listening to manage the body-prosthesis relationship, contemporary extended voice practitioners figure as cyborgs reclaiming vocal agency, that is, input into mediation of and by one’s technologized vocal body.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"28 1","pages":"30-33"},"PeriodicalIF":0.2,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01039","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49220690","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 discusses making Within History, an artwork that translates a commentary on historically situated perceiving from the visual realm to the sonic.
这篇文章讨论了在历史中制作，这是一件艺术作品，它将历史上的感知从视觉领域转化为声音领域。
{"title":"Translating Historically Reflexive Perceiving from Visual to Sonic Art","authors":"Camille Robinson","doi":"10.1162/lmj_a_01041","DOIUrl":"https://doi.org/10.1162/lmj_a_01041","url":null,"abstract":"This article discusses making Within History, an artwork that translates a commentary on historically situated perceiving from the visual realm to the sonic.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"3 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138541784","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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