Abstract This article adapts a conversation on a network project, Listening across Disciplines, which brought together artists, musicians, scientists, technologists and social scientists to discuss the use, value and application of listening as a shared methodology of inquiry and communication. The discussion focuses on one of the key issues emerging from this network: the question of consensus and collaboration in the development of a shared listening methodology.
{"title":"Collaboration and Consensus in Listening","authors":"Anne Barney, Salomé Voegelin","doi":"10.1162/LMJ_A_01046","DOIUrl":"https://doi.org/10.1162/LMJ_A_01046","url":null,"abstract":"Abstract This article adapts a conversation on a network project, Listening across Disciplines, which brought together artists, musicians, scientists, technologists and social scientists to discuss the use, value and application of listening as a shared methodology of inquiry and communication. The discussion focuses on one of the key issues emerging from this network: the question of consensus and collaboration in the development of a shared listening methodology.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"28 1","pages":"82-87"},"PeriodicalIF":0.2,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/LMJ_A_01046","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42081102","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 reflects on how the author’s use of oral history recordings as source material in three electroacoustic works suggests ways in which complementary threads of storytelling and recorded memory can be shaped into purposefully directed forms.
{"title":"Figures of Speech: Oral History as an Agent of Form in Electroacoustic Music","authors":"John Young","doi":"10.1162/lmj_a_01047","DOIUrl":"https://doi.org/10.1162/lmj_a_01047","url":null,"abstract":"Abstract This article reflects on how the author’s use of oral history recordings as source material in three electroacoustic works suggests ways in which complementary threads of storytelling and recorded memory can be shaped into purposefully directed forms.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"28 1","pages":"88-94"},"PeriodicalIF":0.2,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01047","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42082676","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 presents results of experiments undertaken with expert musicians using the author’s original system for systemic improvisation. By promoting the formation of parallel and simultaneous layers of sustained musical relationships, this system facilitates an enhanced focus on local clusters and their development over time. This tool opens a novel perspective on improvised interactions and how they are formed, evaluated, updated, modified and abandoned during a performance, encouraging a critical evaluation of collective schemata.
{"title":"Beyond Schemata in Collective Improvisation: A Support Tool for Music Interactions","authors":"Stefano Kalonaris","doi":"10.1162/lmj_a_01040","DOIUrl":"https://doi.org/10.1162/lmj_a_01040","url":null,"abstract":"Abstract This article presents results of experiments undertaken with expert musicians using the author’s original system for systemic improvisation. By promoting the formation of parallel and simultaneous layers of sustained musical relationships, this system facilitates an enhanced focus on local clusters and their development over time. This tool opens a novel perspective on improvised interactions and how they are formed, evaluated, updated, modified and abandoned during a performance, encouraging a critical evaluation of collective schemata.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"28 1","pages":"34-37"},"PeriodicalIF":0.2,"publicationDate":"2018-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01040","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45059282","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 focuses on the process by which, in 1987, sound artist and inventor Trimpin converted composer Conlon Nancarrow’s Studies for Player Piano from their original hand-punched rolls into the MIDI format. In addition to presenting the technology utilized in this conversion, the article focuses on the collaboration between Trimpin and Nancarrow, and on the significance of the act of porting works composed upon a vulnerable media format to a format that affords extension, analysis and preservation. The article concludes with an overview of a number of example uses of the transcoded Nancarrow scores, including traditional performances and two extended performances and installations.
{"title":"Transcoding Nancarrow at the Dawn of the Age of MIDI: The Preservation and Use of Conlon Nancarrow’s Player Piano Studies","authors":"Jim W. Murphy, Trimpin","doi":"10.1162/LMJ_a_01005","DOIUrl":"https://doi.org/10.1162/LMJ_a_01005","url":null,"abstract":"This article focuses on the process by which, in 1987, sound artist and inventor Trimpin converted composer Conlon Nancarrow’s Studies for Player Piano from their original hand-punched rolls into the MIDI format. In addition to presenting the technology utilized in this conversion, the article focuses on the collaboration between Trimpin and Nancarrow, and on the significance of the act of porting works composed upon a vulnerable media format to a format that affords extension, analysis and preservation. The article concludes with an overview of a number of example uses of the transcoded Nancarrow scores, including traditional performances and two extended performances and installations.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"1 1","pages":"32-35"},"PeriodicalIF":0.2,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/LMJ_a_01005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49536621","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}
Gambiarra is a popular Brazilian expression that describes an improvised and informal way of solving an everyday problem when needed tools or resources are not available. Since the turn of the 21st century, the term gambiarra has been a part of Brazilian art discourse. This article first analyzes the genealogy of the word gambiarra, including its global and local contexts, and then looks at the use of gambiarra in the production of music and sound art instruments, or gambioluthiery.
{"title":"Gambioluthiery: Revisiting the Musical Instrument from a Bricolage Perspective","authors":"Giuliano Obici","doi":"10.1162/LMJ_a_01025","DOIUrl":"https://doi.org/10.1162/LMJ_a_01025","url":null,"abstract":"Gambiarra is a popular Brazilian expression that describes an improvised and informal way of solving an everyday problem when needed tools or resources are not available. Since the turn of the 21st century, the term gambiarra has been a part of Brazilian art discourse. This article first analyzes the genealogy of the word gambiarra, including its global and local contexts, and then looks at the use of gambiarra in the production of music and sound art instruments, or gambioluthiery.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"1 1","pages":"87-92"},"PeriodicalIF":0.2,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/LMJ_a_01025","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48819702","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}
companion to an issue of LMJ dedicated to “Memory and History,” the first thought that dawned on me—together with being flattered by his invitation—was that he had obviously turned to the “history guy” side of me more than to any other of my musical selves. A conversation followed with Nic, where I started to realize that maybe I had been wrong. When separated from one another, and literally taken, the very concepts of “memory” and “history” may suggest other meanings: “memory” could also be intended as a memory unit of a piece of hardware (think of how memory size had marked the development of music made with samplers, etc.) and, of course, “history” could be any history—of persons, things, ideas, machines, communities and so on. However, tempted by all these possible directions and, at the same time, reluctant to play around with concepts with a “too-much-smart” overly affected attitude, I had to surrender to the fact that my first impression had already started to orient, even if not too consciously, my criteria of choice. Only, I decided to revert—or subvert—the memory/history theme by focusing on different possible takes: oblivion, for instance, in both objective and subjective ways. Secondarily, I thought of activating my personal memory in connection with something that I would bring out as historically meaningful even if it had gone more-or-less unnoticed when it happened. Memory became the main theme, and, in all cases, history would be implied as a natural consequence. So, I determined that I would collect some rather obscure materials that I had come across in the remote or near past that could fit the theme in various ways. Most artists, especially composers, tend to quickly leave behind what they have just realized once they start to concentrate on a new creature. I have often observed—also as a musicologist—that, especially when many years go by and the artist happens to stumble upon one of her/his early work, almost or entirely forgotten as it would be, they experience the surprise of an exciting discovery. That is why I started to casually to ask some musician friends to activate their memories and each make an effort to recall something that they had produced in some remote moment of their career that was now, metaphorically or not, collecting dust somewhere. So, we have here artists who happily decided to brush such dust out of the music and found it beautiful or far more interesting than they expected. This is the case of Elliott Sharp, with a piece created some twenty years ago when he had just started to use ProTools—which, by the way, is the most recent piece in the collection, from 1994. It is also the case of Carl Stone, with a piece of the mid ’80s, which for a few years had been circulating only on demo cassettes. Carl had been unhappy both with the piece and its uncontrolled circulation, but—in another demonstration that sedimented memory can produce “wrong” recollections—he now finds the piece perfectly acceptable and
{"title":"Sonic Commentary: Bonus Ghost Tracks","authors":"Veniero Rizzardi","doi":"10.1162/LMJ_E_01030","DOIUrl":"https://doi.org/10.1162/LMJ_E_01030","url":null,"abstract":"companion to an issue of LMJ dedicated to “Memory and History,” the first thought that dawned on me—together with being flattered by his invitation—was that he had obviously turned to the “history guy” side of me more than to any other of my musical selves. A conversation followed with Nic, where I started to realize that maybe I had been wrong. When separated from one another, and literally taken, the very concepts of “memory” and “history” may suggest other meanings: “memory” could also be intended as a memory unit of a piece of hardware (think of how memory size had marked the development of music made with samplers, etc.) and, of course, “history” could be any history—of persons, things, ideas, machines, communities and so on. However, tempted by all these possible directions and, at the same time, reluctant to play around with concepts with a “too-much-smart” overly affected attitude, I had to surrender to the fact that my first impression had already started to orient, even if not too consciously, my criteria of choice. Only, I decided to revert—or subvert—the memory/history theme by focusing on different possible takes: oblivion, for instance, in both objective and subjective ways. Secondarily, I thought of activating my personal memory in connection with something that I would bring out as historically meaningful even if it had gone more-or-less unnoticed when it happened. Memory became the main theme, and, in all cases, history would be implied as a natural consequence. So, I determined that I would collect some rather obscure materials that I had come across in the remote or near past that could fit the theme in various ways. Most artists, especially composers, tend to quickly leave behind what they have just realized once they start to concentrate on a new creature. I have often observed—also as a musicologist—that, especially when many years go by and the artist happens to stumble upon one of her/his early work, almost or entirely forgotten as it would be, they experience the surprise of an exciting discovery. That is why I started to casually to ask some musician friends to activate their memories and each make an effort to recall something that they had produced in some remote moment of their career that was now, metaphorically or not, collecting dust somewhere. So, we have here artists who happily decided to brush such dust out of the music and found it beautiful or far more interesting than they expected. This is the case of Elliott Sharp, with a piece created some twenty years ago when he had just started to use ProTools—which, by the way, is the most recent piece in the collection, from 1994. It is also the case of Carl Stone, with a piece of the mid ’80s, which for a few years had been circulating only on demo cassettes. Carl had been unhappy both with the piece and its uncontrolled circulation, but—in another demonstration that sedimented memory can produce “wrong” recollections—he now finds the piece perfectly acceptable and ","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"1 1","pages":"99-100"},"PeriodicalIF":0.2,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/LMJ_E_01030","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45972795","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 reviews the compositional practice of Peruvian electroacoustic music in the 1960s, to investigate the methods and sources of influence on music and new technologies of that time. It therefore explores local expressions and national and regional identities through elements of folk and traditional music used in these practices. The analysis of this repertoire, from a cross-cultural perspective, sheds new light on the history and originality of experimental art and music in Peru, as well as on Peruvian ethnomusicology.
{"title":"TA [P] CHAS: References to Indigenous Traditions in Peruvian Electroacoustic Composition of the 1960s","authors":"Renzo Filinich Orozco","doi":"10.1162/LMJ_a_01026","DOIUrl":"https://doi.org/10.1162/LMJ_a_01026","url":null,"abstract":"This article reviews the compositional practice of Peruvian electroacoustic music in the 1960s, to investigate the methods and sources of influence on music and new technologies of that time. It therefore explores local expressions and national and regional identities through elements of folk and traditional music used in these practices. The analysis of this repertoire, from a cross-cultural perspective, sheds new light on the history and originality of experimental art and music in Peru, as well as on Peruvian ethnomusicology.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"1 1","pages":"93-97"},"PeriodicalIF":0.2,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/LMJ_a_01026","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49029112","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 discusses sound art projects in which artists have used augmented reality along with recordings or data of public spaces. All the works mentioned here were carried out in Spain from 2010 to 2016. In them, memories become tied to the physical space through social interactions facilitated by communication technologies; listeners get involved through the use of mobile devices. These practices consider the role of sound in the display of memories in the public space, thus configuring a subjective memory that contrasts with the institutional narrations of the history of a place.
{"title":"Resounding Memory: Aural Augmented Reality and the Retelling of History","authors":"Verónica Soria-Martínez","doi":"10.1162/LMJ_a_01001","DOIUrl":"https://doi.org/10.1162/LMJ_a_01001","url":null,"abstract":"This text discusses sound art projects in which artists have used augmented reality along with recordings or data of public spaces. All the works mentioned here were carried out in Spain from 2010 to 2016. In them, memories become tied to the physical space through social interactions facilitated by communication technologies; listeners get involved through the use of mobile devices. These practices consider the role of sound in the display of memories in the public space, thus configuring a subjective memory that contrasts with the institutional narrations of the history of a place.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"1 1","pages":"12-16"},"PeriodicalIF":0.2,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/LMJ_a_01001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44900478","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 recent efforts to archive his personal catalog of live recordings on Digital Audio Tape (DAT) and MiniDisc and the challenges that arise in returning to these once popular, now defunct formats. The materialized history represented by the objects puts pressure on the memories of what they contain.
{"title":"DATs, MiniDiscs and the Self-Idiomatic Archive","authors":"Michael T. Bullock","doi":"10.1162/LMJ_a_01008","DOIUrl":"https://doi.org/10.1162/LMJ_a_01008","url":null,"abstract":"The author discusses recent efforts to archive his personal catalog of live recordings on Digital Audio Tape (DAT) and MiniDisc and the challenges that arise in returning to these once popular, now defunct formats. The materialized history represented by the objects puts pressure on the memories of what they contain.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"1 1","pages":"45-46"},"PeriodicalIF":0.2,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/LMJ_a_01008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44946589","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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