Urban ecological history can give us a fascinating glimpse into the sometimes completely obscured natural past right under our noses. It is also an effective vehicle for reconnecting people with their urban environment. Interdisciplinary artist Edmund Mooney uses eco-history as an invitation to walk into New York City, against the grid, with an eye and an ear to land and water features long erased.
{"title":"Be Here Now, and Then: Urban Ecological History into Art","authors":"E. Mooney","doi":"10.1162/LMJ_A_01000","DOIUrl":"https://doi.org/10.1162/LMJ_A_01000","url":null,"abstract":"Urban ecological history can give us a fascinating glimpse into the sometimes completely obscured natural past right under our noses. It is also an effective vehicle for reconnecting people with their urban environment. Interdisciplinary artist Edmund Mooney uses eco-history as an invitation to walk into New York City, against the grid, with an eye and an ear to land and water features long erased.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"1 1","pages":"7-11"},"PeriodicalIF":0.2,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/LMJ_A_01000","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47739386","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}
Music improvisation is an act of human-becoming: of self-expression—an articulation of histories and memories that have molded its participants—and of exploration—a search for unimagined structures that break with the stale norms of majoritarian culture. Given that the former objective may inhibit the latter, we propose an integration of human musical improvisers and deliberately flawed creative software agents that are designed to catalyze the development of human-ratified minoritarian musical structures.
{"title":"On Improvised Music, Computational Creativity and Human-Becoming","authors":"Arto Artinian, A. Wilson","doi":"10.1162/LMJ_a_01006","DOIUrl":"https://doi.org/10.1162/LMJ_a_01006","url":null,"abstract":"Music improvisation is an act of human-becoming: of self-expression—an articulation of histories and memories that have molded its participants—and of exploration—a search for unimagined structures that break with the stale norms of majoritarian culture. Given that the former objective may inhibit the latter, we propose an integration of human musical improvisers and deliberately flawed creative software agents that are designed to catalyze the development of human-ratified minoritarian musical structures.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"1 1","pages":"36-39"},"PeriodicalIF":0.2,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/LMJ_a_01006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44817777","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 museum at Cadolzburg Castle in Germany, opened in 2017, uses a sound installation to present aspects of the building’s history that could not be materially reconstructed. In this article, the curators and the sound artist explain how the installation alternates between sound effects and musical signifiers to engage visitors with their environment and to spark reflection on the problems of “authenticity” in museums. While the musical thread offers quotes from musical styles representing the castle’s history, the sound thread gradually deconstructs a “castle soundscape” inspired by film soundtracks.
{"title":"The Cadolzburg Experience: On the Use of Sound in a Historical Museum","authors":"Gerald Fiebig, Uta Piereth, Sebastian Karnatz","doi":"10.1162/LMJ_a_01021","DOIUrl":"https://doi.org/10.1162/LMJ_a_01021","url":null,"abstract":"The museum at Cadolzburg Castle in Germany, opened in 2017, uses a sound installation to present aspects of the building’s history that could not be materially reconstructed. In this article, the curators and the sound artist explain how the installation alternates between sound effects and musical signifiers to engage visitors with their environment and to spark reflection on the problems of “authenticity” in museums. While the musical thread offers quotes from musical styles representing the castle’s history, the sound thread gradually deconstructs a “castle soundscape” inspired by film soundtracks.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"1 1","pages":"67-70"},"PeriodicalIF":0.2,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/LMJ_a_01021","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45705060","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}
Ludvig Elblaus, Åsa Unander-Scharin, Carl Unander-Scharin
In the medieval tradition of ballads, a recurring theme is that of transformation. In a staged concert for chamber orchestra, singers and dancers called Varelser och Ballader (Beings and Ballads), we explored this theme using ballads coupled with contemporary poetry and new music. The performance made use of custom-made digital musical instruments, using video analysis and large-scale physical interfaces for transformative purposes. In this article, we describe the piece itself as well as how uncanny qualities of the digital were used to emphasize eerie themes of transformation and deception by the supernatural beings found in the medieval ballads.
在中世纪的民谣传统中，一个反复出现的主题是转变。在为室内乐团、歌手和舞者举办的一场名为Varelser och Ballader（《存在与歌谣》）的舞台音乐会上，我们用民谣与当代诗歌和新音乐相结合的方式探讨了这一主题。演出使用了定制的数字乐器，使用视频分析和大规模物理接口进行变革。在这篇文章中，我们描述了这首歌本身，以及数字的神秘品质是如何被用来强调中世纪民谣中超自然生物的转变和欺骗的怪诞主题的。
{"title":"Uncanny Materialities: Digital Strategies for Staging Supernatural Themes Drawn from Medieval Ballads","authors":"Ludvig Elblaus, Åsa Unander-Scharin, Carl Unander-Scharin","doi":"10.1162/LMJ_a_01020","DOIUrl":"https://doi.org/10.1162/LMJ_a_01020","url":null,"abstract":"In the medieval tradition of ballads, a recurring theme is that of transformation. In a staged concert for chamber orchestra, singers and dancers called Varelser och Ballader (Beings and Ballads), we explored this theme using ballads coupled with contemporary poetry and new music. The performance made use of custom-made digital musical instruments, using video analysis and large-scale physical interfaces for transformative purposes. In this article, we describe the piece itself as well as how uncanny qualities of the digital were used to emphasize eerie themes of transformation and deception by the supernatural beings found in the medieval ballads.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"1 1","pages":"62-66"},"PeriodicalIF":0.2,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/LMJ_a_01020","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44907699","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 traces the artistic and institutional complexities of preserving sonic art. He situates these problems in an analysis of the iconic public sound installation Times Square (1977–1992; 2002–present), which was constructed in an abandoned subway ventilation chamber by sonic artist Max Neuhaus (1939–2009). Next, the author describes how it aided a revitalization of the Times Square district but fell into disrepair and was dismantled in 1992. The author then describes a 2002 reconstruction that incorporated long-term speculative self-preservation strategies. Finally, the author discusses the acquisition of Times Square by the Dia Art Foundation, highlighting challenges that circumscribe preserving sonic art.
{"title":"Times Square: Strategies and Contingencies of Preserving Sonic Art","authors":"Charles Eppley","doi":"10.1162/LMJ_a_01003","DOIUrl":"https://doi.org/10.1162/LMJ_a_01003","url":null,"abstract":"The author traces the artistic and institutional complexities of preserving sonic art. He situates these problems in an analysis of the iconic public sound installation Times Square (1977–1992; 2002–present), which was constructed in an abandoned subway ventilation chamber by sonic artist Max Neuhaus (1939–2009). Next, the author describes how it aided a revitalization of the Times Square district but fell into disrepair and was dismantled in 1992. The author then describes a 2002 reconstruction that incorporated long-term speculative self-preservation strategies. Finally, the author discusses the acquisition of Times Square by the Dia Art Foundation, highlighting challenges that circumscribe preserving sonic art.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"1 1","pages":"21-26"},"PeriodicalIF":0.2,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/LMJ_a_01003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46131942","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 takes a close look at the origins of the terms sound art and sound installation, identifying additional historical sources and addressing misconceptions about their origins. The author then focuses on two early sound works by Max Neuhaus, a sound art pioneer who is frequently said to be the creator of the first sound installation.
{"title":"Updating the History of Sound Art: Additions, Clarifications, More Questions","authors":"B. Gál","doi":"10.1162/LMJ_A_01023","DOIUrl":"https://doi.org/10.1162/LMJ_A_01023","url":null,"abstract":"The author takes a close look at the origins of the terms sound art and sound installation, identifying additional historical sources and addressing misconceptions about their origins. The author then focuses on two early sound works by Max Neuhaus, a sound art pioneer who is frequently said to be the creator of the first sound installation.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"1 1","pages":"78-81"},"PeriodicalIF":0.2,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/LMJ_A_01023","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46585739","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}
Modern efforts to preserve and reinterpret canonic musical works in the contemporary piano repertoire often take advantage of new technologies, fundamentally changing core aspects of the works themselves. By approaching preservation as a form of virtualization—in this case the creation of a functional interpretative model of each musical work—artists and researchers can create robust and performable digital versions of important musical systems. This paper introduces the idea of virtualization as a compositional modeling technique and offers three case studies in which digital versions of contemporary piano repertoire were designed and developed.
{"title":"Historical Virtualization: Analog and Digital Concerns in the Recreation, Modeling and Preservation of Contemporary Piano Repertoire","authors":"Chrysi Nanou, Rob Hamilton","doi":"10.1162/LMJ_a_01004","DOIUrl":"https://doi.org/10.1162/LMJ_a_01004","url":null,"abstract":"Modern efforts to preserve and reinterpret canonic musical works in the contemporary piano repertoire often take advantage of new technologies, fundamentally changing core aspects of the works themselves. By approaching preservation as a form of virtualization—in this case the creation of a functional interpretative model of each musical work—artists and researchers can create robust and performable digital versions of important musical systems. This paper introduces the idea of virtualization as a compositional modeling technique and offers three case studies in which digital versions of contemporary piano repertoire were designed and developed.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"1 1","pages":"27-31"},"PeriodicalIF":0.2,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/LMJ_a_01004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47171905","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}
Luc Ferrari’s Presque rien, ou le lever du jour au bord de la mer (Almost nothing, or daybreak at the seashore) represents one of the most significant milestones in the development of field recording as it is understood today. His piece, recorded in 1968 in Vela Luka, is both a composition and an execution of auditory memory making. The work demonstrates the agentive capacity of Ferrari’s listening and sets a framework for future executions of the relational condition between human listening and the audition of the prosthetic ear: the microphone. In 2013, the author visited the same location to reconsider Ferrari’s sonic subjects and to update Ferrari’s exploration by expanding on the French composer’s listening methodologies.
Luc Ferrari的Presque rien, ou le lever du jour au bord de la mer(几乎什么都没有，或海边的黎明)代表了今天所理解的现场录音发展中最重要的里程碑之一。他于1968年在Vela Luka录制的这首曲子既是一首作曲，也是一种听觉记忆制作的执行。这项工作展示了法拉利倾听的代理能力，并为未来执行人类倾听和假耳听觉之间的关系条件设定了框架:麦克风。2013年，作者访问了同一地点，重新考虑法拉利的声音主题，并通过扩展法国作曲家的聆听方法来更新法拉利的探索。
{"title":"A Memory of Almost Nothing: Luc Ferrari’s Listening During Presque Rien No. 1","authors":"Lawrence English","doi":"10.1162/LMJ_a_01002","DOIUrl":"https://doi.org/10.1162/LMJ_a_01002","url":null,"abstract":"Luc Ferrari’s Presque rien, ou le lever du jour au bord de la mer (Almost nothing, or daybreak at the seashore) represents one of the most significant milestones in the development of field recording as it is understood today. His piece, recorded in 1968 in Vela Luka, is both a composition and an execution of auditory memory making. The work demonstrates the agentive capacity of Ferrari’s listening and sets a framework for future executions of the relational condition between human listening and the audition of the prosthetic ear: the microphone. In 2013, the author visited the same location to reconsider Ferrari’s sonic subjects and to update Ferrari’s exploration by expanding on the French composer’s listening methodologies.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"1 1","pages":"17-20"},"PeriodicalIF":0.2,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/LMJ_a_01002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42259129","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 explores how various phenomena of working memory are actively drawn on and can provide useful insights into live coding performance practice. The author argues that the phonological coding processes that cognitive psychologists believe underscore how auditory information is retained and recollected in working memory can enrich our understanding of live coding performance practice, where loop-based processes often provide key structural units. The author suggests that such practice finds structural coherence and aesthetic value through a real-time play with the effects of working memory.
{"title":"Phonological and Musical Loops in Live Coding Performance Practice","authors":"David Kim-Boyle","doi":"10.1162/LMJ_a_01007","DOIUrl":"https://doi.org/10.1162/LMJ_a_01007","url":null,"abstract":"This paper explores how various phenomena of working memory are actively drawn on and can provide useful insights into live coding performance practice. The author argues that the phonological coding processes that cognitive psychologists believe underscore how auditory information is retained and recollected in working memory can enrich our understanding of live coding performance practice, where loop-based processes often provide key structural units. The author suggests that such practice finds structural coherence and aesthetic value through a real-time play with the effects of working memory.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"1 1","pages":"40-44"},"PeriodicalIF":0.2,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/LMJ_a_01007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44922286","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 historical reminiscence details the evolution of a type of electronic music called “computer network music.” Early computer network music had a heterogeneous quality, with independent composers forming a collective; over time, it has transitioned into the more autonomous form of university-centered “laptop orchestra.” This transition points to a fundamental shift in the cultural contexts in which this artistic practice was and is embedded: The early work derived from the post-hippie, neo-punk anarchism of cooperatives whose members dreamed that machines would enable a kind of utopia. The latter is a direct outgrowth of the potential inherent in what networks actually are and of a sense of social cohesion based on uniformity and standardization. The discovery that this style of computer music-making can be effectively used as a curricular tool has also deeply affected the evolution and approaches of many in the field.
{"title":"A Personal Reminiscence on the Roots of Computer Network Music","authors":"Scot Gresham-Lancaster","doi":"10.1162/LMJ_A_01022","DOIUrl":"https://doi.org/10.1162/LMJ_A_01022","url":null,"abstract":"This historical reminiscence details the evolution of a type of electronic music called “computer network music.” Early computer network music had a heterogeneous quality, with independent composers forming a collective; over time, it has transitioned into the more autonomous form of university-centered “laptop orchestra.” This transition points to a fundamental shift in the cultural contexts in which this artistic practice was and is embedded: The early work derived from the post-hippie, neo-punk anarchism of cooperatives whose members dreamed that machines would enable a kind of utopia. The latter is a direct outgrowth of the potential inherent in what networks actually are and of a sense of social cohesion based on uniformity and standardization. The discovery that this style of computer music-making can be effectively used as a curricular tool has also deeply affected the evolution and approaches of many in the field.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"1 1","pages":"71-77"},"PeriodicalIF":0.2,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/LMJ_A_01022","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45907587","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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