Abstract This article presents a new software toolbox to enable programmatic mining of sound banks for musicking and musicking-driven research. The toolbox is available for three popular creative coding environments currently used by “techno-fluent” musicians. The article describes the design rationale and functionality of the toolbox and its ecosystem, then the development methodology—several versions of the toolbox have been seeded to early adopters who have, in turn, contributed to the design. Examples of these early usages are presented, and we describe some observed musical affordances of the proposed approach to the exploration and manipulation of music corpora, as well as the main roadblocks encountered. We finally reflect on a few emerging themes for the next steps in building a community around critical programmatic mining of sound banks.
{"title":"Enabling Programmatic Data Mining as Musicking: The Fluid Corpus Manipulation Toolkit","authors":"Pierre Alexandre Tremblay;Gerard Roma;Owen Green","doi":"10.1162/comj_a_00600","DOIUrl":"10.1162/comj_a_00600","url":null,"abstract":"Abstract This article presents a new software toolbox to enable programmatic mining of sound banks for musicking and musicking-driven research. The toolbox is available for three popular creative coding environments currently used by “techno-fluent” musicians. The article describes the design rationale and functionality of the toolbox and its ecosystem, then the development methodology—several versions of the toolbox have been seeded to early adopters who have, in turn, contributed to the design. Examples of these early usages are presented, and we describe some observed musical affordances of the proposed approach to the exploration and manipulation of music corpora, as well as the main roadblocks encountered. We finally reflect on a few emerging themes for the next steps in building a community around critical programmatic mining of sound banks.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 2","pages":"9-23"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44302098","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 A common approach in the development of digital filters is to begin with an existing analog filter and produce an equivalent computer program to realize it. This may involve, at the extreme, the detailed analysis of circuit behavior, or it may stem from a higher-level approach that looks at block diagrams and s-domain transfer functions. In this article, we first take the latter approach to develop a set of linear filters from the well-known state variable filter. From this we obtain a first result, which is a linear digital implementation of the Steiner design, comprising separate inputs for different frequency responses and a single output summing the responses. Turning back to the state variable design, we show that to develop a nonlinear version, an analog circuit realization can be used to identify positions in which to insert nonlinear waveshapers. This gives us our second result, a nonlinear digital state variable filter. From this analog-derived design, we then propose modifications that go beyond the original filter, developing as a final result a structure that could be classed as a hybrid of filter and digital waveshaper. As part of this process, we ask the question of whether an approach that takes inspiration from the analog world, while being decoupled from it, may be more profitable in the long run than an obsession with detailed circuit modeling.
{"title":"Linear and Nonlinear Digital Filters: From the Analog and Beyond","authors":"Victor Lazzarini;Joseph Timoney","doi":"10.1162/comj_a_00599","DOIUrl":"10.1162/comj_a_00599","url":null,"abstract":"Abstract A common approach in the development of digital filters is to begin with an existing analog filter and produce an equivalent computer program to realize it. This may involve, at the extreme, the detailed analysis of circuit behavior, or it may stem from a higher-level approach that looks at block diagrams and s-domain transfer functions. In this article, we first take the latter approach to develop a set of linear filters from the well-known state variable filter. From this we obtain a first result, which is a linear digital implementation of the Steiner design, comprising separate inputs for different frequency responses and a single output summing the responses. Turning back to the state variable design, we show that to develop a nonlinear version, an analog circuit realization can be used to identify positions in which to insert nonlinear waveshapers. This gives us our second result, a nonlinear digital state variable filter. From this analog-derived design, we then propose modifications that go beyond the original filter, developing as a final result a structure that could be classed as a hybrid of filter and digital waveshaper. As part of this process, we ask the question of whether an approach that takes inspiration from the analog world, while being decoupled from it, may be more profitable in the long run than an obsession with detailed circuit modeling.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 2","pages":"67-83"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43296574","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}
performances. The other works on the album are “Circuit Combine” (2013) and “Level Shift” (2017). “Circuit Combine” recalls Bischoff’s earlier “Audio Combine,” perhaps as a reconfiguration of the earlier work’s processes. “Level Shift,” meanwhile, is the calmest of the works, leaning into similar creative tactics using drones as their musical material. The second half of the concert featured a performance of “League Trio” by Bischoff, Perkis, and current Mills Center for Contemporary Music director James Fei. As the title suggests, it is inspired by the live, networked microcomputer works and improvisatory practices of the League of Automatic Music Composers (whose members included Bischoff and Perkis as well as Rich Gold, James Horton, and David Behrman). The sonic terrain of “League Trio” was different from Bischoff’s earlier set, even after acknowledging the new personnel and equipment on stage. Interlinked through audio pathways and sharing data via OSC, the three improvisers operated with methodologies utilized by the League: personal setups, no preexisting plans, and an embrace of how each other’s actions and data would influence their own outputs. There is something to it that John Bischoff’s closing act in a concert celebrating his career is not a solo or even some kind of spotlighthogging concerto-like work. Instead, he blurred into the group, as if a part of one of his hero David Tudor’s combines, working collaboratively with Perkis and Fei. In some ways, Bischoff’s precision in the first half made adjusting to the looser structures and more generalized sound of this League-inspired improvisation harder for a moment. In reviewing some recordings of the League after the performance, it was especially clear how much they had captured its rambunctious, live musicality. This concert, especially after being rescheduled from its 2020 date because of the Covid-19 pandemic, had an extra layer of significance with the announcement that Mills College was going to close or change status in some way. In the months that have followed that night in April 2021, Northeastern University and Mills have created a plan to merge. Although much has yet to be clarified about the future of Mills College’s educational missions in the wake of its new relationship with Northeastern, Bischoff’s retirement is part of a generational chapter’s close for the college, following the retirements of longtime Center for Contemporary Music codirectors Maggi Payne and Chris Brown, and other faculty from the music department including Roscoe Mitchell and Fred Frith. Mills has experienced considerable shifts of musical trajectory before but has found new ways after the departures of previous faculty such as Darius Milhaud, Luciano Berio, Alvin Curran, Pauline Oliveros, and Robert Ashley. It has also invested in new possibilities, such as when the San Francisco Tape Music Center became part of the college, later renamed the Center for Contemporary Music. Among the current stude
{"title":"James Dashow: Archimedes—A Planetarium Opera","authors":"Bradley S. Green","doi":"10.1162/comj_r_00608","DOIUrl":"10.1162/comj_r_00608","url":null,"abstract":"performances. The other works on the album are “Circuit Combine” (2013) and “Level Shift” (2017). “Circuit Combine” recalls Bischoff’s earlier “Audio Combine,” perhaps as a reconfiguration of the earlier work’s processes. “Level Shift,” meanwhile, is the calmest of the works, leaning into similar creative tactics using drones as their musical material. The second half of the concert featured a performance of “League Trio” by Bischoff, Perkis, and current Mills Center for Contemporary Music director James Fei. As the title suggests, it is inspired by the live, networked microcomputer works and improvisatory practices of the League of Automatic Music Composers (whose members included Bischoff and Perkis as well as Rich Gold, James Horton, and David Behrman). The sonic terrain of “League Trio” was different from Bischoff’s earlier set, even after acknowledging the new personnel and equipment on stage. Interlinked through audio pathways and sharing data via OSC, the three improvisers operated with methodologies utilized by the League: personal setups, no preexisting plans, and an embrace of how each other’s actions and data would influence their own outputs. There is something to it that John Bischoff’s closing act in a concert celebrating his career is not a solo or even some kind of spotlighthogging concerto-like work. Instead, he blurred into the group, as if a part of one of his hero David Tudor’s combines, working collaboratively with Perkis and Fei. In some ways, Bischoff’s precision in the first half made adjusting to the looser structures and more generalized sound of this League-inspired improvisation harder for a moment. In reviewing some recordings of the League after the performance, it was especially clear how much they had captured its rambunctious, live musicality. This concert, especially after being rescheduled from its 2020 date because of the Covid-19 pandemic, had an extra layer of significance with the announcement that Mills College was going to close or change status in some way. In the months that have followed that night in April 2021, Northeastern University and Mills have created a plan to merge. Although much has yet to be clarified about the future of Mills College’s educational missions in the wake of its new relationship with Northeastern, Bischoff’s retirement is part of a generational chapter’s close for the college, following the retirements of longtime Center for Contemporary Music codirectors Maggi Payne and Chris Brown, and other faculty from the music department including Roscoe Mitchell and Fred Frith. Mills has experienced considerable shifts of musical trajectory before but has found new ways after the departures of previous faculty such as Darius Milhaud, Luciano Berio, Alvin Curran, Pauline Oliveros, and Robert Ashley. It has also invested in new possibilities, such as when the San Francisco Tape Music Center became part of the college, later renamed the Center for Contemporary Music. Among the current stude","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 2","pages":"85-88"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48123796","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}
Machine Milieu is an album based around a live electronics project by Agostino Di Scipio and Dario Sanfilippo that brings together two dynamical computer music systems, independently developed and designed to interact with each other through the performance environment. The two systems might be considered as extensions or variations of Di Scipio’s Audible Ecosystemics works—particularly “Background Noise Study” and “Feedback Study” (2003–2005), and of Sanfilippo’s “Audible Icarus” (2012–2018) and the Single-Fader Versatility project (2013– 2019). Their collaboration culminated in July 2021 with a self-titled release on Toxo Records, available both as a digital album and as a compact disc.
Machine Milieu是一张基于Agostino Di Scipio和Dario Sanfilippo的现场电子项目的专辑，该专辑汇集了两个动态计算机音乐系统，这两个系统是独立开发和设计的，可以通过表演环境相互交互。这两个系统可能被认为是Di Scipio的听觉生态系统学作品的扩展或变体，特别是“背景噪声研究”和“反馈研究”（2003–2005），以及Sanfilippo的“听觉伊卡洛斯”（2012–2018）和单衰减器通用性项目（2013–2019）。他们的合作在2021年7月达到顶峰，在Toxo Records上发行了一张同名专辑，既有数字专辑，也有光盘。
{"title":"Agostino Di Scipio and Dario Sanfilippo: Machine Milieu","authors":"Daniele Pozzi","doi":"10.1162/comj_r_00607","DOIUrl":"10.1162/comj_r_00607","url":null,"abstract":"Machine Milieu is an album based around a live electronics project by Agostino Di Scipio and Dario Sanfilippo that brings together two dynamical computer music systems, independently developed and designed to interact with each other through the performance environment. The two systems might be considered as extensions or variations of Di Scipio’s Audible Ecosystemics works—particularly “Background Noise Study” and “Feedback Study” (2003–2005), and of Sanfilippo’s “Audible Icarus” (2012–2018) and the Single-Fader Versatility project (2013– 2019). Their collaboration culminated in July 2021 with a self-titled release on Toxo Records, available both as a digital album and as a compact disc.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 2","pages":"88-90"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43225903","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}
Joaquín Rodrigo y Vidre (b. 1901–d. 1999) was born in Sagunto, in the province of Valencia, Spain, on 22 November 1901, the feast day of St. Cecilia, patron saint of music. Rodrigo was a productive composer for over six decades, and his roughly two hundred works include masterpieces for orchestra, chamber ensemble, chorus, solo voice, piano, and especially guitar, an instrument on which he was not proficient but the one with which his legacy is inextricably connected. Indeed, by far and away his most famous work is the Concierto de Aranjuez for guitar and orchestra, composed in 1938–1939 and premiered in 1940. The middle movement’s main theme has provided inspiration for a whole assortment of arrangements by jazz artists such as Miles Davis and Chick Corea, and it has often been quoted in music for film and television. The unfortunate consequence of this melody’s viral popularity, however, is that it has tended to put much of his other music in the shade. Rodrigo’s achievement is remarkable because he lost his eyesight at age three as a result of diphtheria. Fortunately, the family moved to the city of Valencia in 1906, where advanced institutions for educating the deaf and blind were located. He received excellent training in piano, violin, and composition, as well as in regular academic subjects. Rodrigo became proficient in reading Braille notation for both words and music. He would eventually use a machine to type up his musical ideas in Braille, which he would then dictate to an assistant to write out in conventional notation. The music would thereafter be played at the piano so that he could hear it and make any necessary changes. In 1927 he moved to Paris to continue his studies in composition with Paul Dukas, at the École Normale de Musique. It was during his years in Paris that he met and married Victoria Kamhi, a Sephardic Jewess from Istanbul who was studying piano there. Composer and wife returned to Spain for good in 1939, settling in Madrid after the end of the Spanish Civil War and on the eve of World War II. The successful premiere of the Concierto de Aranjuez cemented his reputation as a leading figure in Spanish music. He also became a music critic for Radio Nacional, the newspaper Pueblo, and he assumed administrative responsibilities for ONCE, the national organization for the blind. Rodrigo’s international reputation began to grow steadily during the 1950s, and he would be the recipient of numerous awards and honorary degrees, at home and abroad. He passed away at the age of ninety-seven, two years after Victoria. His legacy is preserved and promoted by the Fundación Victoria y Joaquín Rodrigo in Madrid (see online), which maintains his apartment as both a museum and a research archive. It is headed by the composer’s daughter, Cecilia (b. 1941).
Joaquín罗德里戈·维德雷(1901-d)1901年11月22日，音乐守护神圣塞西莉亚的节日，他出生在西班牙瓦伦西亚省的萨格托。罗德里戈60多年来一直是一位多产的作曲家，他的大约200部作品包括管弦乐队、室内乐合奏、合唱、独唱、钢琴、尤其是吉他的杰作，他并不精通吉他，但他的遗产却与吉他密不可分。事实上，到目前为止，他最著名的作品是为吉他和管弦乐队而作的《阿兰胡埃斯协奏曲》(Concierto de Aranjuez)，创作于1938-1939年，首演于1940年。中间乐章的主旋律为爵士艺术家如迈尔斯·戴维斯和奇克·科雷亚的各种编曲提供了灵感，并经常在电影和电视音乐中被引用。然而，这首曲子病毒式流行的不幸后果是，它往往使他的许多其他音乐黯然失色。罗德里戈的成就是非凡的，因为他在三岁时因白喉失去了视力。幸运的是，这家人在1906年搬到了瓦伦西亚市，那里有先进的聋哑人和盲人教育机构。他接受了钢琴、小提琴和作曲方面的优秀训练，也参加了正规的学术课程。罗德里戈精通阅读盲文符号的文字和音乐。他最终会用一台机器用盲文输入他的音乐想法，然后他会把这些想法口授给助手，让助手用传统的符号写出来。之后，音乐会在钢琴上演奏，这样他就能听到并做出必要的修改。1927年，他搬到巴黎，在École Normale de Musique继续与保罗·杜卡斯(Paul Dukas)学习作曲。在巴黎的几年里，他遇到了维多利亚·卡米(Victoria Kamhi)，并与她结婚。卡米是一位来自伊斯坦布尔的西班牙系犹太人，在那里学习钢琴。1939年，在西班牙内战结束和第二次世界大战前夕，作曲家和妻子永远回到了西班牙，定居在马德里。阿兰胡埃斯歌剧的成功首演巩固了他作为西班牙音乐界领军人物的声誉。他还成为了国家广播电台(Radio national)和《普韦布洛报》(Pueblo)的音乐评论家，并在全国盲人组织ONCE担任行政职务。罗德里戈的国际声誉在20世纪50年代开始稳步增长，他将在国内外获得无数奖项和荣誉学位。他去世时享年97岁，比维多利亚晚了两年。他的遗产由马德里的Fundación Victoria y Joaquín Rodrigo博物馆保存和推广，该博物馆将他的公寓作为博物馆和研究档案馆。由作曲家的女儿塞西莉亚(生于1941年)领导。
{"title":"Joaquin Rodrigo","authors":"W. Clark","doi":"10.4324/9780429298455","DOIUrl":"https://doi.org/10.4324/9780429298455","url":null,"abstract":"Joaquín Rodrigo y Vidre (b. 1901–d. 1999) was born in Sagunto, in the province of Valencia, Spain, on 22 November 1901, the feast day of St. Cecilia, patron saint of music. Rodrigo was a productive composer for over six decades, and his roughly two hundred works include masterpieces for orchestra, chamber ensemble, chorus, solo voice, piano, and especially guitar, an instrument on which he was not proficient but the one with which his legacy is inextricably connected. Indeed, by far and away his most famous work is the Concierto de Aranjuez for guitar and orchestra, composed in 1938–1939 and premiered in 1940. The middle movement’s main theme has provided inspiration for a whole assortment of arrangements by jazz artists such as Miles Davis and Chick Corea, and it has often been quoted in music for film and television. The unfortunate consequence of this melody’s viral popularity, however, is that it has tended to put much of his other music in the shade. Rodrigo’s achievement is remarkable because he lost his eyesight at age three as a result of diphtheria. Fortunately, the family moved to the city of Valencia in 1906, where advanced institutions for educating the deaf and blind were located. He received excellent training in piano, violin, and composition, as well as in regular academic subjects. Rodrigo became proficient in reading Braille notation for both words and music. He would eventually use a machine to type up his musical ideas in Braille, which he would then dictate to an assistant to write out in conventional notation. The music would thereafter be played at the piano so that he could hear it and make any necessary changes. In 1927 he moved to Paris to continue his studies in composition with Paul Dukas, at the École Normale de Musique. It was during his years in Paris that he met and married Victoria Kamhi, a Sephardic Jewess from Istanbul who was studying piano there. Composer and wife returned to Spain for good in 1939, settling in Madrid after the end of the Spanish Civil War and on the eve of World War II. The successful premiere of the Concierto de Aranjuez cemented his reputation as a leading figure in Spanish music. He also became a music critic for Radio Nacional, the newspaper Pueblo, and he assumed administrative responsibilities for ONCE, the national organization for the blind. Rodrigo’s international reputation began to grow steadily during the 1950s, and he would be the recipient of numerous awards and honorary degrees, at home and abroad. He passed away at the age of ninety-seven, two years after Victoria. His legacy is preserved and promoted by the Fundación Victoria y Joaquín Rodrigo in Madrid (see online), which maintains his apartment as both a museum and a research archive. It is headed by the composer’s daughter, Cecilia (b. 1941).","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"25 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78890140","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 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}
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