Abstract In this paper, we present a set of time-domain algorithms for the low- and high-level analysis of audio streams. These include spectral centroid, noisiness, and spectral spread for the low level, and dynamicity, heterogeneity, and complexity for the high level. The low-level algorithms provide a continuous measure of the features and can operate with short analysis frames. The high-level algorithms, on the other hand, are original designs informed both perceptually and by complexity theory for the analysis of musically meaningful information, both in short sounds or articulated streams with long-term nontrivial variations. These algorithms are suitable for the implementation of real-time audio analysis in diverse live performance setups that require the extraction of information from several streams at the same time. For example, the low-level algorithms can be deployed in large audio networks of adaptive agents, or in small-to-large ensembles for the analysis of various characteristics of the instruments for computer-assisted performance. Furthermore, the high-level algorithms can be implemented as part of fitness functions in music systems based on evolutionary algorithms that follow musically-informed criteria, or as analysis tools to assess the quality of some of the characteristics of a musical output. Musical applications of these algorithms can be found in a companion paper in this issue of Computer Music Journal: “Complex Adaptation in Audio Feedback Networks for the Synthesis of Music and Sounds.”
{"title":"Time-Domain Adaptive Algorithms for Low- and High-Level Audio Information Processing","authors":"Dario Sanfilippo","doi":"10.1162/comj_a_00592","DOIUrl":"10.1162/comj_a_00592","url":null,"abstract":"Abstract In this paper, we present a set of time-domain algorithms for the low- and high-level analysis of audio streams. These include spectral centroid, noisiness, and spectral spread for the low level, and dynamicity, heterogeneity, and complexity for the high level. The low-level algorithms provide a continuous measure of the features and can operate with short analysis frames. The high-level algorithms, on the other hand, are original designs informed both perceptually and by complexity theory for the analysis of musically meaningful information, both in short sounds or articulated streams with long-term nontrivial variations. These algorithms are suitable for the implementation of real-time audio analysis in diverse live performance setups that require the extraction of information from several streams at the same time. For example, the low-level algorithms can be deployed in large audio networks of adaptive agents, or in small-to-large ensembles for the analysis of various characteristics of the instruments for computer-assisted performance. Furthermore, the high-level algorithms can be implemented as part of fitness functions in music systems based on evolutionary algorithms that follow musically-informed criteria, or as analysis tools to assess the quality of some of the characteristics of a musical output. Musical applications of these algorithms can be found in a companion paper in this issue of Computer Music Journal: “Complex Adaptation in Audio Feedback Networks for the Synthesis of Music and Sounds.”","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 1","pages":"24-38"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41464225","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Mauri Edo, known as Subespai, has recently produced an album entitled The Present Time. In the Catalan language, subespai means “subspace”—a space within a space. This concept, which is found in mathematics, appropriately characterizes the composer’s approach to organizing a sonic landscape within this set of tracks, which was produced on a four-track tape machine. Subespai has deployed an improvisatory approach to layering sound in The Present Time, exploring the limitations of his resources in the studio. Subespai’s intuitive compositional process stems from the use of what he describes as found sound components: “samples from here and there, downloaded, recorded or generated (by myself).” Subespai identifies the results of this process used for building sonic layers, as his
{"title":"Mauri Edo: The Present Time","authors":"Seth Rozanoff","doi":"10.1162/comj_r_00595","DOIUrl":"10.1162/comj_r_00595","url":null,"abstract":"Mauri Edo, known as Subespai, has recently produced an album entitled The Present Time. In the Catalan language, subespai means “subspace”—a space within a space. This concept, which is found in mathematics, appropriately characterizes the composer’s approach to organizing a sonic landscape within this set of tracks, which was produced on a four-track tape machine. Subespai has deployed an improvisatory approach to layering sound in The Present Time, exploring the limitations of his resources in the studio. Subespai’s intuitive compositional process stems from the use of what he describes as found sound components: “samples from here and there, downloaded, recorded or generated (by myself).” Subespai identifies the results of this process used for building sonic layers, as his","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 1","pages":"80-81"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46351816","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Postmodern art theories, overproduction, and digital technologies are testing the creativity, innovation, and social and political engagement of art. One Dadaist solution being explored by artists is the aesthetic possibilities associated with the conceptual process. For example, in the field of electronic music, producers and DJs are claiming that remixing is a genuine example of such a creative procedure; however, to justify this claim, remixing requires the bringing of the aesthetic foundations together using digital tools. The main problem is that digital audio workstations and plug-ins enclose artists in specific frameworks that blur the boundaries between true creativity and a perception of creativity. This article sought to develop remixing codes and software using Lindenmayer systems (L-systems), which are parallel rewriting systems with a type of formal grammar. As much of their potential remains unexplored, some algorithms and interface designs were developed to improve their interactive programming options. Finally, using the programmable L-systems as a genetic metaphor, some additions to musical morphing were developed as a starting point to building a generative remixing technique.
{"title":"Electronic Music and Generative Remixing: Improving L-Systems Aesthetics and Algorithms","authors":"Umberto Roncoroni","doi":"10.1162/comj_a_00594","DOIUrl":"10.1162/comj_a_00594","url":null,"abstract":"Abstract Postmodern art theories, overproduction, and digital technologies are testing the creativity, innovation, and social and political engagement of art. One Dadaist solution being explored by artists is the aesthetic possibilities associated with the conceptual process. For example, in the field of electronic music, producers and DJs are claiming that remixing is a genuine example of such a creative procedure; however, to justify this claim, remixing requires the bringing of the aesthetic foundations together using digital tools. The main problem is that digital audio workstations and plug-ins enclose artists in specific frameworks that blur the boundaries between true creativity and a perception of creativity. This article sought to develop remixing codes and software using Lindenmayer systems (L-systems), which are parallel rewriting systems with a type of formal grammar. As much of their potential remains unexplored, some algorithms and interface designs were developed to improve their interactive programming options. Finally, using the programmable L-systems as a genetic metaphor, some additions to musical morphing were developed as a starting point to building a generative remixing technique.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 1","pages":"55-79"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44970497","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Sound spatialization is a technique used in various musical genres as well as in soundtrack production for films and video games. In this context, specialized software has been developed for the design of sound trajectories we have classified as (1) basic movements, or image schemas of spatial movement; and (2) archetypal geometric figures. Our contribution is to reach an understanding of how we perceive the movement of sound in space as a result of the interaction between an agent's or listener's sensory-motor characteristics and the morphological characteristics of the stimuli and the acoustic space where such interaction occurs. An experiment was designed involving listening to auditory stimuli and associating them with the aforementioned spatial movement categories. The results suggest that in most cases, the ability to recognize moving sound is hindered when there are no visual stimuli present. Moreover, they indicate that archetypal geometric figures are rarely perceived as such and that the perception of sound movements in space can be organized into three spatial dimensions—height, depth, and width—which the literature on sound localization also confirms.
{"title":"Perceptual Recognition of Sound Trajectories in Space","authors":"Federico Schumacher;Vicente Espinoza;Francisca Mardones;Rodrigo Vergara;Alberto Aránguiz;Valentina Aguilera","doi":"10.1162/comj_a_00593","DOIUrl":"10.1162/comj_a_00593","url":null,"abstract":"Abstract Sound spatialization is a technique used in various musical genres as well as in soundtrack production for films and video games. In this context, specialized software has been developed for the design of sound trajectories we have classified as (1) basic movements, or image schemas of spatial movement; and (2) archetypal geometric figures. Our contribution is to reach an understanding of how we perceive the movement of sound in space as a result of the interaction between an agent's or listener's sensory-motor characteristics and the morphological characteristics of the stimuli and the acoustic space where such interaction occurs. An experiment was designed involving listening to auditory stimuli and associating them with the aforementioned spatial movement categories. The results suggest that in most cases, the ability to recognize moving sound is hindered when there are no visual stimuli present. Moreover, they indicate that archetypal geometric figures are rarely perceived as such and that the perception of sound movements in space can be organized into three spatial dimensions—height, depth, and width—which the literature on sound localization also confirms.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 1","pages":"39-54"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41396709","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
You Nakai’s book on David Tudor is a masterful investigation of archival and published materials left behind by the composer and his many collaborators, students, and biographers. Rather than clearing out a field of study that had until now been difficult to address, Nakai shows us his path through the dense forest of notes, ad hoc systems, and tricksterlike aphorisms that Tudor left behind as his life’s work. As a performer and composer infamous for open-ended and short remarks, instructions, and comments (contrasting with the gregariousness of John Cage), he certainly did leave plenty of materials; these form, as Nakai so convincingly demonstrates, puzzles of a scale and variety that certainly rival (if not dwarf) the puzzles of new music Tudor himself solved in his early career as a performer of the western avant garde’s most challenging pieces.
{"title":"You Nakai: Reminded by the Instruments","authors":"Ezra J. Teboul","doi":"10.1162/comj_r_00597","DOIUrl":"10.1162/comj_r_00597","url":null,"abstract":"You Nakai’s book on David Tudor is a masterful investigation of archival and published materials left behind by the composer and his many collaborators, students, and biographers. Rather than clearing out a field of study that had until now been difficult to address, Nakai shows us his path through the dense forest of notes, ad hoc systems, and tricksterlike aphorisms that Tudor left behind as his life’s work. As a performer and composer infamous for open-ended and short remarks, instructions, and comments (contrasting with the gregariousness of John Cage), he certainly did leave plenty of materials; these form, as Nakai so convincingly demonstrates, puzzles of a scale and variety that certainly rival (if not dwarf) the puzzles of new music Tudor himself solved in his early career as a performer of the western avant garde’s most challenging pieces.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 1","pages":"85-90"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48506810","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
versely, his compositional thinking informs his approach to performing. Regarding the issue of performativity—rather, liveness— Subespai mentions the following: “it comes directly as a result of how I work, how I create, how I record . . . If I find something . . . I want to be able to play it live, and also make a piece out of it. This forces me to take a lot of notes, manipulate a lot, make sure I can reproduce things days later. . . . It’s all like a long-running performance.” These comments help to characterize the composer’s attitude toward his work’s close relationship to performance. Regarding Subespai’s studio approach, he transforms his fundamental sound classes over time. However, what is most compelling is his maintenance of a relatively small group of samples. This limitation, coupled with the studio tools he uses, helps to simplify a given musical process, regardless of any musical, timbral, or noise-based element used. Often, this setup results in a sense of stasis heard throughout The Present Time. Another attitude that influenced the outcome of Subespai’s studio composition is his view on the occurrence of everyday life events. Regarding this issue, Subespai is concerned with life’s extreme nuanced range and its ambiguity, which is inherent in much of our daily experience. Therefore, one could view Subespai’s studio practice as a reflection of his perception of the natural world. This concept reflects the composer’s strategy in the studio, combining organic and so-called artificial sounds, or a more environmentally based sound palette, with noise. Ultimately, the following statements made by Subespai confirm our musical observations of his work in the studio: “I just love mixing stuff that has nothing to do with each other, creating new atmospheres that didn’t exist . . . the listener will come up with their own images to go along with the tracks, their own story.” For Subespai, his studio practice allows for freedom and experimentation, the results of which are then directly integrated in his work. Overall, his process of experimentation forms the foundation of this composition. A distinctive feature in track 3, “A brief moment of stillness,” is the emergence of a bright and active color amidst a more dense layering. This process seems to have resulted in a blend of sound that is more unidentifiable compared with other sections heard previously. This type of patterning and interweaving of sound material may offer a listener multiple perspectives, perhaps provoking alternative imagery. As such, the composer has carefully selected materials in preparing this track, and, similar to what the title suggests, stillness is achieved. This track’s sound world, with its ambiguous range of color and density, progresses further, compared with the musical contrasts found in the previous tracks. In track 4, “Sandglass,” prerecorded material is looped in a distinctive manner, and pitted alongside another partially looped layer. The composer bri
相反，他的作曲思维影响了他的表演方式。关于表现力的问题——更确切地说，是活力——Subespai提到了以下几点:“它直接来自于我如何工作、如何创作、如何记录的结果……如果我发现什么…我希望能够现场演奏它，并将其制作成一件作品。这迫使我做很多笔记，做很多操作，确保我能在几天后重现这些东西. . . .这就像是一场长期演出。”这些评论有助于描述作曲家对他的作品与表演的密切关系的态度。关于Subespai的工作室方法，他随着时间的推移改变了他的基本声音课程。然而，最令人信服的是他维持了一个相对较小的样本组。这种限制，加上他使用的工作室工具，有助于简化给定的音乐过程，无论使用任何音乐，音色或基于噪声的元素。通常，这种设置会导致一种停滞感，贯穿整个现世。影响Subespai工作室创作结果的另一个态度是他对日常生活事件发生的看法。关于这个问题，Subespai关注的是生活的极端微妙的范围和它的模糊性，这是我们日常经验中固有的。因此，人们可以将Subespai的工作室实践视为他对自然世界感知的反映。这个概念反映了作曲家在工作室的策略，将有机和所谓的人造声音，或更环保的声音调色板与噪音相结合。最后，Subespai的以下陈述证实了我们对他在录音室工作的音乐观察:“我只是喜欢把彼此无关的东西混在一起，创造出不存在的新氛围……听者会想到他们自己的图像，伴随着歌曲，他们自己的故事。”对于Subespai来说，他的工作室实践允许自由和实验，然后将其结果直接整合到他的作品中。总的来说，他的实验过程构成了这幅作品的基础。第3首“A brief moment of silence”的显著特点是在更密集的层次中出现了一种明亮而活跃的颜色。与之前听到的其他部分相比，这个过程似乎导致了一种更难以识别的声音混合。这种类型的模式和声音材料的交织可能会给听众提供多种视角，也许会激发另一种意象。因此，作曲家在准备这首歌时仔细选择了材料，并且，就像标题所暗示的那样，达到了静止。这首歌的声音世界，以其模糊的颜色和密度范围，进一步发展，与音乐对比发现在之前的曲目。在track 4“Sandglass”中，预先录制的材料以独特的方式循环，并与另一个部分循环层一起凹陷。作曲家将这些元素组合在一起，将它们与其他基于噪声的流重叠。这个结果暗示了一个流动的沙子集中的印象。基于自然的声音也被并置到颗粒纹理上。总的来说，一个人可以把这个轨道上的声音类别的总范围看作是形成跨节奏模式的分组。“Braidwood to Northside”，第5首，给听者提供了一个看似受限或有限的声学空间，其中风和燃烧的木头的环境元素，以及其他模糊的声音类别被聚集在一起。这就产生了一种物理感，为听众提供了一种发自内心的、多维度的声音综合体，激发了一种物理运动感。总而言之，The Present Time突出了作曲家创造一个广泛的，有时是复杂的，声音重量或颜色的混合，而不是任何特定的电子音乐技术，或参考流派和历史先例的能力。在这里，Subespai在他的材料安排上是成功的，松散地准备他的声音材料，以一种允许他反复实验直到期望的声音结果出现的方式。
{"title":"Ingrid Laubrock: Dreamt Twice, Twice Dreamt","authors":"Ross Feller","doi":"10.1162/comj_r_00596","DOIUrl":"10.1162/comj_r_00596","url":null,"abstract":"versely, his compositional thinking informs his approach to performing. Regarding the issue of performativity—rather, liveness— Subespai mentions the following: “it comes directly as a result of how I work, how I create, how I record . . . If I find something . . . I want to be able to play it live, and also make a piece out of it. This forces me to take a lot of notes, manipulate a lot, make sure I can reproduce things days later. . . . It’s all like a long-running performance.” These comments help to characterize the composer’s attitude toward his work’s close relationship to performance. Regarding Subespai’s studio approach, he transforms his fundamental sound classes over time. However, what is most compelling is his maintenance of a relatively small group of samples. This limitation, coupled with the studio tools he uses, helps to simplify a given musical process, regardless of any musical, timbral, or noise-based element used. Often, this setup results in a sense of stasis heard throughout The Present Time. Another attitude that influenced the outcome of Subespai’s studio composition is his view on the occurrence of everyday life events. Regarding this issue, Subespai is concerned with life’s extreme nuanced range and its ambiguity, which is inherent in much of our daily experience. Therefore, one could view Subespai’s studio practice as a reflection of his perception of the natural world. This concept reflects the composer’s strategy in the studio, combining organic and so-called artificial sounds, or a more environmentally based sound palette, with noise. Ultimately, the following statements made by Subespai confirm our musical observations of his work in the studio: “I just love mixing stuff that has nothing to do with each other, creating new atmospheres that didn’t exist . . . the listener will come up with their own images to go along with the tracks, their own story.” For Subespai, his studio practice allows for freedom and experimentation, the results of which are then directly integrated in his work. Overall, his process of experimentation forms the foundation of this composition. A distinctive feature in track 3, “A brief moment of stillness,” is the emergence of a bright and active color amidst a more dense layering. This process seems to have resulted in a blend of sound that is more unidentifiable compared with other sections heard previously. This type of patterning and interweaving of sound material may offer a listener multiple perspectives, perhaps provoking alternative imagery. As such, the composer has carefully selected materials in preparing this track, and, similar to what the title suggests, stillness is achieved. This track’s sound world, with its ambiguous range of color and density, progresses further, compared with the musical contrasts found in the previous tracks. In track 4, “Sandglass,” prerecorded material is looped in a distinctive manner, and pitted alongside another partially looped layer. The composer bri","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 1","pages":"81-85"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45317508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article presents recent outcomes of the author's research on musical complex adaptive systems (CASs). The first part focuses on the concepts of adaptation and complexity within the framework of CASs and suggests a rigorous placing of the concepts within the musical domain. This analysis involves a distinction of the notions of context and information between the engineering field of information theory and the philosophical one of radical constructivism. I conclude this section by showing that, in this approach, information and context are mutually determining. Then, I introduce a technique related to the notion of evolvability in biology and genetic algorithms and that has significantly increased the complexity and long-term variety in music systems during autonomous evolutions. This technique distributes adaptation across higher levels and allows the system to reorganize the relationships among its agents and their structure circularly while interpreting and constructing its context. To conclude, an autonomous live performance piece from 2019–2020, “Constructing Realities (Homage to Heinz von Foerster),” which implements the theories mentioned above, is described, showing DSP processes and techniques that relate to evolvability, autopoiesis, fitness, and complexity through agent-based modeling. This article is accompanied by a companion article discussing the technical aspects of information processing algorithms, which are an essential part for the implementation of music CASs: “Time-Domain Adaptive Algorithms for Low- and High-Level Audio Information Processing.”
摘要本文介绍了作者对音乐复杂自适应系统（CAS）的最新研究成果。第一部分重点讨论了CAS框架内的改编和复杂性概念，并建议将这些概念严格放在音乐领域内。这一分析涉及信息理论的工程领域和激进建构主义的哲学领域之间的上下文和信息概念的区别。在本节结束时，我表明，在这种方法中，信息和背景是相互决定的。然后，我介绍了一种与生物学和遗传算法中的进化性概念相关的技术，它显著增加了音乐系统在自主进化过程中的复杂性和长期多样性。这种技术将适应分布在更高的层次上，并允许系统在解释和构建其上下文的同时，循环地重组其主体及其结构之间的关系。最后，描述了2019-2020年的一篇自主现场表演作品《构建现实（向Heinz von Foerster致敬）》，该作品实现了上述理论，通过基于代理的建模展示了与进化性、自我生成、适应性和复杂性相关的DSP过程和技术。本文附有一篇讨论信息处理算法的技术方面的配套文章，这是音乐CAS实现的重要组成部分：“用于低级别和高级别音频信息处理的时域自适应算法”
{"title":"Complex Adaptation in Audio Feedback Networks for the Synthesis of Music and Sounds","authors":"Dario Sanfilippo","doi":"10.1162/comj_a_00591","DOIUrl":"10.1162/comj_a_00591","url":null,"abstract":"Abstract This article presents recent outcomes of the author's research on musical complex adaptive systems (CASs). The first part focuses on the concepts of adaptation and complexity within the framework of CASs and suggests a rigorous placing of the concepts within the musical domain. This analysis involves a distinction of the notions of context and information between the engineering field of information theory and the philosophical one of radical constructivism. I conclude this section by showing that, in this approach, information and context are mutually determining. Then, I introduce a technique related to the notion of evolvability in biology and genetic algorithms and that has significantly increased the complexity and long-term variety in music systems during autonomous evolutions. This technique distributes adaptation across higher levels and allows the system to reorganize the relationships among its agents and their structure circularly while interpreting and constructing its context. To conclude, an autonomous live performance piece from 2019–2020, “Constructing Realities (Homage to Heinz von Foerster),” which implements the theories mentioned above, is described, showing DSP processes and techniques that relate to evolvability, autopoiesis, fitness, and complexity through agent-based modeling. This article is accompanied by a companion article discussing the technical aspects of information processing algorithms, which are an essential part for the implementation of music CASs: “Time-Domain Adaptive Algorithms for Low- and High-Level Audio Information Processing.”","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 1","pages":"6-23"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42446859","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Computer Music Journal 37:2 included an article analyzing audio feedback systems in various musical compositions. One of the article’s authors, Dario Sanfilippo, went on to write a Ph.D. thesis in this area. In the current issue, he presents a pair of articles based in part on his dissertation research. The first of these considers musical feedback using concepts and vocabulary from the field of complex adaptive systems. That field concerns nonlinear dynamical systems that are complex, in that their behavior may not be predictable from the behavior of individual components within the system, and adaptive, in that the behavior changes over time in response to events. Sanfilippo also draws upon the philosophical concept of radical constructivism, presenting as a case study his own composition Constructing Realities. His companion article elucidates technical aspects of the signal-processing algorithms he implemented for this work. These algorithms analyze the short-term or long-term information in audio streams, such as those captured in a live performance that uses a feedback model. This issue’s third article concerns the psychoacoustics of spatialization—specifically, how
{"title":"About This Issue","authors":"","doi":"10.1162/comj_e_00588","DOIUrl":"10.1162/comj_e_00588","url":null,"abstract":"Computer Music Journal 37:2 included an article analyzing audio feedback systems in various musical compositions. One of the article’s authors, Dario Sanfilippo, went on to write a Ph.D. thesis in this area. In the current issue, he presents a pair of articles based in part on his dissertation research. The first of these considers musical feedback using concepts and vocabulary from the field of complex adaptive systems. That field concerns nonlinear dynamical systems that are complex, in that their behavior may not be predictable from the behavior of individual components within the system, and adaptive, in that the behavior changes over time in response to events. Sanfilippo also draws upon the philosophical concept of radical constructivism, presenting as a case study his own composition Constructing Realities. His companion article elucidates technical aspects of the signal-processing algorithms he implemented for this work. These algorithms analyze the short-term or long-term information in audio streams, such as those captured in a live performance that uses a feedback model. This issue’s third article concerns the psychoacoustics of spatialization—specifically, how","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 1","pages":"1-1"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45213248","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Digital Performer 11 is an upgrade to Mark of the Unicorn’s (MOTU’s) well-known digital audio workstation (DAW). Among the new features are Articulation Maps, Retrospective Record, support for MIDI Polyphonic Expression (MPE), a redesigned Nanosampler plug-in, as well as support for macOS Big Sur and native compatibility with silicon Macs. The new Articulation Maps feature is designed for use with sound libraries that have multiple articulations available for instruments. Users can now create or import articulation maps that produce expressive instrument and ensemble performances. Articulations can be mapped to a symbol in Digital Performer’s QuickScribe notation editor and each articulation can trigger multiple kinds of output. This new edition of Digital Performer can also be used with MPE MIDI controllers. It records notes as standard MIDI notes with encapsulated MPE expression data. The user can view recordings as a stream of MIDI notes with controllers superimposed on top of each note and edit them in the piano roll view. Alternatively, each controller can be viewed and edited in a separate lane using the application’s tools for editing continuous controllers. The amount of expression used can be increased or decreased using a new Scale tool. A new Retrospective Recording function for audio and MIDI has also been added. This allows users to recall an audio or MIDI sequence that they have recently played even if they didn’t record it. Nanosampler is a virtual instrument in Digital Performer that can be loaded with a mono or stereo
数字表演者11是对独角兽标志（MOTU）知名数字音频工作站（DAW）的升级。新功能包括发音映射、回溯记录、对MIDI合成音表达式（MPE）的支持、重新设计的纳米采样器插件，以及对macOS Big Sur的支持和与硅Mac的本地兼容性。新的关节图功能是为与具有多种可用于乐器的关节的声音库一起使用而设计的。用户现在可以创建或导入发音图，以产生富有表现力的乐器和合奏表演。在Digital Performer的QuickScribe注释编辑器中，可以将发音映射到一个符号，每个发音都可以触发多种输出。这个新版本的数字表演者也可以与MPE MIDI控制器一起使用。它将音符记录为带有封装MPE表达式数据的标准MIDI音符。用户可以将录音视为MIDI音符流，控制器叠加在每个音符的顶部，并在钢琴滚动视图中对其进行编辑。或者，可以使用用于编辑连续控制器的应用程序工具，在单独的通道中查看和编辑每个控制器。使用新的“缩放”工具可以增加或减少所使用的表达式量。还增加了一个新的音频和MIDI回溯记录功能。这允许用户回忆起他们最近播放的音频或MIDI序列，即使他们没有录制。Nanosampler是Digital Performer中的一种虚拟乐器，可以加载单声道或立体声
{"title":"Products of Interest","authors":"","doi":"10.1162/comj_r_00598","DOIUrl":"10.1162/comj_r_00598","url":null,"abstract":"Digital Performer 11 is an upgrade to Mark of the Unicorn’s (MOTU’s) well-known digital audio workstation (DAW). Among the new features are Articulation Maps, Retrospective Record, support for MIDI Polyphonic Expression (MPE), a redesigned Nanosampler plug-in, as well as support for macOS Big Sur and native compatibility with silicon Macs. The new Articulation Maps feature is designed for use with sound libraries that have multiple articulations available for instruments. Users can now create or import articulation maps that produce expressive instrument and ensemble performances. Articulations can be mapped to a symbol in Digital Performer’s QuickScribe notation editor and each articulation can trigger multiple kinds of output. This new edition of Digital Performer can also be used with MPE MIDI controllers. It records notes as standard MIDI notes with encapsulated MPE expression data. The user can view recordings as a stream of MIDI notes with controllers superimposed on top of each note and edit them in the piano roll view. Alternatively, each controller can be viewed and edited in a separate lane using the application’s tools for editing continuous controllers. The amount of expression used can be increased or decreased using a new Scale tool. A new Retrospective Recording function for audio and MIDI has also been added. This allows users to recall an audio or MIDI sequence that they have recently played even if they didn’t record it. Nanosampler is a virtual instrument in Digital Performer that can be loaded with a mono or stereo","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 1","pages":"91-103"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43811900","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-02-24DOI: 10.1093/obo/9780199757824-0286
Paul E. Corneilson
Johann Christian Bach, the youngest son of Johann Sebastian Bach (b. 1685–d. 1750), was one of the originators of the Classical style, an important composer and concert organizer in London. Born in Leipzig on 5 September 1735, J. C. Bach began his musical training under his father and mother, Anna Magdalena (b. 1701– d. 1760), and continued his studies in Berlin with his half-brother, Carl Philipp Emanuel Bach (b. 1714–d. 1788), after his father died in July 1750. In 1755, J. C. Bach went to Italy, studied with Padre Martini in Bologna, converted to the Roman Catholic faith, and eventually was appointed organist at the Milan Cathedral, where he composed much Latin church music. After receiving commissions for an opera in Turin (Artaserse in 1760) and two operas for the Teatro San Carlo in Naples (Catone in Utica and Alessandro nell’Indie in 1761–1762), J. C. Bach was called to London, where he served as music director at the King’s Theater in 1762–1763 (writing two operas that season, Orione and Zanaida), and he became Music Master to Queen Charlotte. With Carl Friedrich Abel, Bach organized a series of concerts at various locations in London. He continued to write operas and one oratorio for London, plus two operas for Mannheim (Temistocle in 1772 and Lucio Silla in 1775) and one for Paris (Amadis de Gaule in 1779). His keyboard and instrumental music was widely published, and he was admired by the young Mozart, who met him during his visit to London in 1764. J. C. Bach was the most cosmopolitan composer of his family; he maintained a long correspondence with Martini, and his portrait was painted by Thomas Gainsborough for Martini’s extensive collection.
约翰·克里斯蒂安·巴赫，约翰·塞巴斯蒂安·巴赫(生于1685-d)最小的儿子。1750年)，是古典风格的鼻祖之一，是伦敦重要的作曲家和音乐会组织者。巴赫于1735年9月5日出生在莱比锡，他开始在父亲和母亲安娜·玛格达莱娜(1701 - 1760)的指导下接受音乐训练，并与同父异母的兄弟卡尔·菲利普·伊曼纽尔·巴赫(1714-d)一起在柏林继续学习。1788年)，他的父亲于1750年7月去世。1755年，巴赫前往意大利，在博洛尼亚师从马蒂尼神父，皈依罗马天主教，并最终被任命为米兰大教堂的管风琴师，在那里他创作了许多拉丁教堂音乐。巴赫在都灵接受了一部歌剧(1760年的《阿尔塔塞塞》)和那不勒斯圣卡洛剧院的两部歌剧(1761-1762年的《尤蒂卡的卡通》和《亚历山德罗·奈尔的indie》)的委托后，被召唤到伦敦，在1762-1763年担任国王剧院的音乐总监(在那个季节创作了两部歌剧《奥里奥内》和《扎内达》)，他成为夏洛特女王的音乐大师。巴赫与卡尔·弗里德里希·阿贝尔在伦敦的不同地点组织了一系列音乐会。他继续为伦敦创作歌剧和一部清唱剧，为曼海姆创作了两部歌剧(1772年的Temistocle和1775年的Lucio Silla)，为巴黎创作了一部歌剧(1779年的Amadis de gaulle)。他的键盘和器乐作品被广泛出版，年轻的莫扎特在1764年访问伦敦时遇到了他，他很欣赏他。巴赫是他家族中最具世界性的作曲家;他与马蒂尼保持着长期的通信，他的肖像由托马斯·庚斯伯勒(Thomas Gainsborough)绘制，供马蒂尼收藏。
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