Pub Date : 2023-06-19DOI: 10.1017/s1355771823000250
R. Dean, Felix A. Dobrowohl, Yvonne Leung
Perceived relationships between timbres are critical in electroacoustic music. Most studies assume timbres have fixed inter-relationships, but we tested whether distinct tasks change these. Thirty short sounds were used, from five categories: acoustic instruments, impulse responses, convolutions of the preceding, environmental sounds and computer-manipulated instrumental sounds. In Task 1, 46 non-musicians formed a ‘cohesive’ sonic ordering of unlabelled icons (sounds attached). In Task 2, they categorised the icons into four boxes. In Task 3 listeners separately ordered the sounds from each of Task 2’s boxes using the approach of Task 1. Tasks 1 and 2/3 revealed distinct orderings, consistent with conceptual flexibility. To analyse the orderings, we replaced conventional distance by adjacency measures, and described each system as a network (rather than spatial positions), confirming that the two task outcomes were distinct. Network analyses also showed that the two systems were mechanistically distinct and allowed us to predict temporally changing networks, modelling the observed networks as successive perceptions. Further simulated networks generated with the temporal model readily encompassed all possible pairings between the sounds and not just those we observed. The temporal network model thus confirms conceptual flexibility even in untrained listeners, clearly suitable for a composer to use.
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Pub Date : 2023-01-30DOI: 10.1017/S1355771823000018
Tullis Rennie
The first special issue on socially engaged sound practices (Organised Sound 26/2) contributed to this growing area of research in distinct ways. It featured scholarly accounts by those doing socially engaged sound practices, with such accounts moving towards more inherently (self-)critical sound practices and study of such works. It included a diversity in interpretations of ‘sociality’, addressing distinct areas and eras of sound practices when doing so. The articles diversify the conversation on the topic by decentralising theoretical approaches to the subject matter and by including a wider variety of voices, experiences, sounding bodies and attitudes to listening. Together, the issue looked to move the conversation beyond dominant hierarchies and towards greater inclusivity, intersectionality, decolonisation and into the morethan-human register – all through creative sonic forms, at a scale larger than the individual. This second issue builds and expands upon this work, as well as moving into several further key areas. There is a certain emphasis by authors here on overcoming the unhelpful binaries of professional/nonprofessional (or ‘amateur’) regarding participation in collaborative sound arts practices, and in relation to non-hierarchical educational approaches. Other articles dig further into collective listener engagement and audience reception of (participative) work, and present theoretical standpoints that move beyond a music/sound art divide. Artist-authors and practiceresearchers describe bespoke sociotechnological applications and advances in distributed online approaches. It is also perhaps notable for the number of papers with three or more authors, and with more than half the issue written collaboratively. This, of course, returns to the overarching themes linking issues 26/2 and 28/1 overall – the social, engagement, collaboration in sound, and of listening to and resonating with ideas and sonic experiences beyond one’s own positionality. Erik Deluca and Elana Hausknecht approach socially engaged sound arts practices with open questions of authorship, identity, representation and remediation through a mixture of analytical and theoretical approaches. They draw on work by similarly socially engaged educator-facilitators Pauline Oliveros and Paulo Freire, whose ideas frame accounts of the authors’ own work and experiences. These auto-ethnographic accounts become an invitation for readers to consider the enactment of sound art as an open-ended dialogic event – an interweaving of sound, listening and learning – and further, to ‘witness some possibilities of dialogue in-process’ with critical consciousness. Vadim Keylin also explores the creative agency of participatory sound art works. Through two ethnographic case studies, his article examines the facilitation and execution of participants’ creativity, questioning how this intersects with the proposing artist’s agency and the work’s materiality. In dissociating sound-making from
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Pub Date : 2023-01-16DOI: 10.1017/S1355771822000589
Oded Ben-Tal
This article examines works for live, interactive electronics from the perspective of complex dynamic systems, placing the human–computer interaction within a wider set of relationships. From this perspective, composing equates to constructing a complex system with the performer(s) and the computer as key players within a wider network of interdependence. Using the author’s own compositions as examples, this article investigates the utility of a system view on interactive, live electronics.
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Pub Date : 2023-01-10DOI: 10.1017/S1355771822000590
Nicolas Bernier, G. Boutard, C. Traube, Estelle Schorpp, L. Bellemare, Victor Drouin-Trempe
Despite the sine wave’s close links to the birth of electronic music in the mid-twentieth century, it has been little studied aesthetically, and no systematic review of its artistic usages exists. This article presents a brief literature review, followed by the results of a survey on the principles guiding sine wave-based works. This allows to put forward a typological framework contributing to an understanding of the application of the sine wave in music.
{"title":"Sine Wave in Music and Sound Art: A typology of artistic approaches","authors":"Nicolas Bernier, G. Boutard, C. Traube, Estelle Schorpp, L. Bellemare, Victor Drouin-Trempe","doi":"10.1017/S1355771822000590","DOIUrl":"https://doi.org/10.1017/S1355771822000590","url":null,"abstract":"Despite the sine wave’s close links to the birth of electronic music in the mid-twentieth century, it has been little studied aesthetically, and no systematic review of its artistic usages exists. This article presents a brief literature review, followed by the results of a survey on the principles guiding sine wave-based works. This allows to put forward a typological framework contributing to an understanding of the application of the sine wave in music.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"28 1","pages":"133 - 145"},"PeriodicalIF":0.6,"publicationDate":"2023-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48534724","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.1017/S1355771822000280
Wang Jing
Drawing from the ancient Chinese text The Zhuangzi, the sinologist François Jullien suggests that to nourish one’s life is to nourish life’s vital potential by keeping it open to renewal. Inspired by the anthropocosmic vision of environment improvisation developed by the Chinese musician Li Jianhong, this article begins to explore the philosophical and aesthetic principles that connect electroacoustic improvisation to life nourishment through discussions of electroacoustic improvising practices from China but not limited to China. This article proposes that an understanding of electroacoustic improvisation on the spiritual and existential level offers a refreshed conceptualisation of creativity, environment and improvisation at large.
{"title":"Electroacoustic Improvisation and Life Nourishment","authors":"Wang Jing","doi":"10.1017/S1355771822000280","DOIUrl":"https://doi.org/10.1017/S1355771822000280","url":null,"abstract":"Drawing from the ancient Chinese text The Zhuangzi, the sinologist François Jullien suggests that to nourish one’s life is to nourish life’s vital potential by keeping it open to renewal. Inspired by the anthropocosmic vision of environment improvisation developed by the Chinese musician Li Jianhong, this article begins to explore the philosophical and aesthetic principles that connect electroacoustic improvisation to life nourishment through discussions of electroacoustic improvising practices from China but not limited to China. This article proposes that an understanding of electroacoustic improvisation on the spiritual and existential level offers a refreshed conceptualisation of creativity, environment and improvisation at large.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"379 - 386"},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45189587","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.1017/S1355771822000504
Zhao Xiaoyu, Sun Zhenwei
The importance that Chinese composers attach to their nation’s cultural traditions in their electronic music compositions has become a dominant trend in Chinese electronic music. This has generally led to a ‘Chinese imagery’ in Chinese electronic music compositions. Among China-inspired electroacoustic music, the interactive multimedia work A Reflection in the Brook (小青, 2013) shows a unique expression. The author explores how the composer recreated a controversial female figure in Chinese history through a completely real-time audiovisual language: Feng Xiaoqing, thereby presenting Chinese imagery in electroacoustic music through an alternative approach. The audiovisual relationship in A Reflection in the Brook will be analysed through the lens of Michel Chion’s audiovisual theory and the perspective of musical composition techniques, further presenting the audiovisual aesthetics of multimedia electronic music.
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Pub Date : 2022-12-01DOI: 10.1017/S1355771822000528
L. Qiuxiao
Traditional Chinese music highlights the linear beauty, or the melody. In addition to the presentation of melody, traditional Chinese music tends to create rhythmic beauty with a broad sound language of different attributes, which is realised by controlling the sound variation with its rich playing fingerings and techniques. Instead of evading noises, traditional Chinese music even applies noises intentionally to meet certain demands, as is very commonly found in plucked string instruments. Many typical noise languages used in plucked string instruments, while in the context of electroacoustic music, demonstrate their features in multiple dimensions of sound, such as the basic form, colour, dynamics and longitudinal gradation structure, which are gained by changes in parameters such as sound pitch, frequency, time and space information. Therefore, they imply both the basic timbre characteristics of the musical instrument and the technical characteristics of the electroacoustic music.
{"title":"Presentation of Noise Elements of Chinese Plucked String Instruments in Electronic Music","authors":"L. Qiuxiao","doi":"10.1017/S1355771822000528","DOIUrl":"https://doi.org/10.1017/S1355771822000528","url":null,"abstract":"Traditional Chinese music highlights the linear beauty, or the melody. In addition to the presentation of melody, traditional Chinese music tends to create rhythmic beauty with a broad sound language of different attributes, which is realised by controlling the sound variation with its rich playing fingerings and techniques. Instead of evading noises, traditional Chinese music even applies noises intentionally to meet certain demands, as is very commonly found in plucked string instruments. Many typical noise languages used in plucked string instruments, while in the context of electroacoustic music, demonstrate their features in multiple dimensions of sound, such as the basic form, colour, dynamics and longitudinal gradation structure, which are gained by changes in parameters such as sound pitch, frequency, time and space information. Therefore, they imply both the basic timbre characteristics of the musical instrument and the technical characteristics of the electroacoustic music.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"27 1","pages":"316 - 324"},"PeriodicalIF":0.6,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43300884","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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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