{"title":"An Accessible, Browser-Based Gestural Controller for Web Audio, MIDI, and Open Sound Control","authors":"Monica Lim;Natalia Kotsani","doi":"10.1162/COMJ_a_00693","DOIUrl":"https://doi.org/10.1162/COMJ_a_00693","url":null,"abstract":"","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"47 3","pages":"6-18"},"PeriodicalIF":0.4,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143430560","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}
{"title":"Mario Diaz De Leon: Spark and Earth","authors":"","doi":"10.1162/COMJ_r_00692","DOIUrl":"https://doi.org/10.1162/COMJ_r_00692","url":null,"abstract":"","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"47 3","pages":"69-70"},"PeriodicalIF":0.4,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143430561","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}
L. McCall, Jason Freeman, Tom McKlin, Taneisha Lee, Michael Horn, Brian Magerko
Many introductory computer science educational platforms foster student interest and facilitate student learning through the authentic incorporation of music. Although many such platforms have demonstrated promising outcomes in student engagement across diverse student populations and learning contexts, little is known about the specific ways in which music and computer science learning are uniquely combined to support student knowledge in both domains. This study looks at two different learning platforms for computer science and music (CS-plus-music), TunePad and EarSketch, which were used by middle school students during a week-long virtual summer camp. Using both platforms, students created computational music projects, which we analyzed for characteristics of music and code complexity across multiple dimensions. Students also completed surveys before and after the workshop about their perceptions of the platforms and their own backgrounds, and we interviewed some students. The results suggest that different connections between music and computing concepts emerge, as well as different progressions through the concepts themselves, depending in part on the design affordances of the application programming interface for computer music in each platform. Coupled with prior findings about the different roles each platform may play in developing situational interest for students, these findings suggest that different CS-plus-musiclearning platforms can provide complementary roles that benefit and support learning and development of student interest.
{"title":"Complementary Roles of Note-Oriented and Mixing-Oriented Software in Student Learning of Computer Science plus Music","authors":"L. McCall, Jason Freeman, Tom McKlin, Taneisha Lee, Michael Horn, Brian Magerko","doi":"10.1162/comj_a_00651","DOIUrl":"https://doi.org/10.1162/comj_a_00651","url":null,"abstract":"\u0000 Many introductory computer science educational platforms foster student interest and facilitate student learning through the authentic incorporation of music. Although many such platforms have demonstrated promising outcomes in student engagement across diverse student populations and learning contexts, little is known about the specific ways in which music and computer science learning are uniquely combined to support student knowledge in both domains. This study looks at two different learning platforms for computer science and music (CS-plus-music), TunePad and EarSketch, which were used by middle school students during a week-long virtual summer camp. Using both platforms, students created computational music projects, which we analyzed for characteristics of music and code complexity across multiple dimensions. Students also completed surveys before and after the workshop about their perceptions of the platforms and their own backgrounds, and we interviewed some students. The results suggest that different connections between music and computing concepts emerge, as well as different progressions through the concepts themselves, depending in part on the design affordances of the application programming interface for computer music in each platform. Coupled with prior findings about the different roles each platform may play in developing situational interest for students, these findings suggest that different CS-plus-musiclearning platforms can provide complementary roles that benefit and support learning and development of student interest.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44663145","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}
The automatic identification of cue points is a central task in applications as diverse as music thumbnailing, generation of mash ups, and DJ mixing. Our focus lies in electronic dance music and in a specific kind of cue point, the “switch point,” that makes it possible to automatically construct transitions between tracks, mimicking what professional DJs do. We present two approaches for the detection of switch points. One embodies a few general rules we established from interviews with professional DJs, the other models a manually annotated dataset that we curated. Both approaches are based on feature extraction and novelty analysis. From an evaluation conducted on previously unknown tracks, we found that about 90% of the points generated can be reliably used in the context of a DJ mix.
{"title":"Automatic Detection of Cue Points for the Emulation of DJ Mixing","authors":"Mickaël Zehren, Marco Alunno, P. Bientinesi","doi":"10.1162/comj_a_00652","DOIUrl":"https://doi.org/10.1162/comj_a_00652","url":null,"abstract":"\u0000 The automatic identification of cue points is a central task in applications as diverse as music thumbnailing, generation of mash ups, and DJ mixing. Our focus lies in electronic dance music and in a specific kind of cue point, the “switch point,” that makes it possible to automatically construct transitions between tracks, mimicking what professional DJs do. We present two approaches for the detection of switch points. One embodies a few general rules we established from interviews with professional DJs, the other models a manually annotated dataset that we curated. Both approaches are based on feature extraction and novelty analysis. From an evaluation conducted on previously unknown tracks, we found that about 90% of the points generated can be reliably used in the context of a DJ mix.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45202210","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 : 2023-06-30DOI: 10.4135/9781412972024.n2140
R. Feller
James Dashow’s second volume of Soundings in Pure Duration features works for electronic sounds, several which are composed for instrumental or vocal soloists. The composer is well known in the electronic and computer music worlds and has produced a large amount of work over many decades. This release contains the last four works in the Soundings series, composed between 2014 and 2020, as well as the rerelease of “. . . At Other Times, the Distances,” an older, quadraphonic composition. This DVD contains stereo mix downs and full 5.0-surround mixes for each of the five compositions. The stereo versions were all spatially enhanced to suggest a wider-than-normal audio field. Dashow is perhaps best known for his work with spatialization. According to the liner notes,
詹姆斯-达肖（James Dashow）的第二卷《纯时长的声音》（Soundings in Pure Duration）收录了电子声音作品，其中有几首是为器乐或声乐独奏而作。这位作曲家在电子和计算机音乐界享有盛誉，几十年来创作了大量作品。此次发行的作品包括 "Soundings "系列中创作于 2014 年至 2020 年的最后四部作品，以及重新发行的"......"。在其他时间，距离"，这是一首较早的四声部作品。这张 DVD 包含五首作品的立体声混音和完整的 5.0 环绕声混音。所有立体声版本都经过空间增强处理，以显示比正常音场更宽广的音场。Dashow 最著名的作品可能是空间化。根据内页说明
{"title":"Recordings","authors":"R. Feller","doi":"10.4135/9781412972024.n2140","DOIUrl":"https://doi.org/10.4135/9781412972024.n2140","url":null,"abstract":"James Dashow’s second volume of Soundings in Pure Duration features works for electronic sounds, several which are composed for instrumental or vocal soloists. The composer is well known in the electronic and computer music worlds and has produced a large amount of work over many decades. This release contains the last four works in the Soundings series, composed between 2014 and 2020, as well as the rerelease of “. . . At Other Times, the Distances,” an older, quadraphonic composition. This DVD contains stereo mix downs and full 5.0-surround mixes for each of the five compositions. The stereo versions were all spatially enhanced to suggest a wider-than-normal audio field. Dashow is perhaps best known for his work with spatialization. According to the liner notes,","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"49 1","pages":"120 - 122"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139367085","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 research presents a mapping out of Brazilian electroacoustic music studios from 1960 to 2000, especially those that emerged in connection with universities and other institutions. A major criterion was to understand "music studios" as cultural territories, as places for creation, collaboration, and exchange. We present a timeline highlighting the main trajectories of composers, institutions, and events, all related to the development of these studios. We interviewed composers and investigated a wide variety of documents, ranging from scholarly papers and journal articles through books, recordings, and websites. As a result, the timeline introduces the main spaces that have fostered electroacoustic music in Brazil, revealing the idea of gambiarra [make do, workaround], a sort of Brazilian DIY culture.
{"title":"Mapping Out the Origins of Electroacoustic Music Studios in Brazil","authors":"Felipe de Almeida Ribeiro, Ricardo Thomasi","doi":"10.1162/comj_a_00639","DOIUrl":"https://doi.org/10.1162/comj_a_00639","url":null,"abstract":"Abstract:This research presents a mapping out of Brazilian electroacoustic music studios from 1960 to 2000, especially those that emerged in connection with universities and other institutions. A major criterion was to understand \"music studios\" as cultural territories, as places for creation, collaboration, and exchange. We present a timeline highlighting the main trajectories of composers, institutions, and events, all related to the development of these studios. We interviewed composers and investigated a wide variety of documents, ranging from scholarly papers and journal articles through books, recordings, and websites. As a result, the timeline introduces the main spaces that have fostered electroacoustic music in Brazil, revealing the idea of gambiarra [make do, workaround], a sort of Brazilian DIY culture.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1","pages":"107 - 94"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64509593","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}
This article describes the music data format of the recently introduced Sound Notation system, and how it makes possible computer-aided composition of scores representing sound-based music. The Sound Notation system is an adaptation of Lasse Thoresen's spectromorphological analysis notation, developed for composition and analysis. A detailed description of the data format is followed by two examples of its application in a computer-aided composition process resulting in the sounding interpretation of two score excerpts of an electroacoustic composition. Generating sound structures as symbolic notation data in this way provided possibilities for the creation of sound-based music otherwise limited to works of traditional notation.
{"title":"Computer-aided Composition Using a Sound-based Notation","authors":"Mattias Sköld","doi":"10.1162/comj_a_00648","DOIUrl":"https://doi.org/10.1162/comj_a_00648","url":null,"abstract":"\u0000 This article describes the music data format of the recently introduced Sound Notation system, and how it makes possible computer-aided composition of scores representing sound-based music. The Sound Notation system is an adaptation of Lasse Thoresen's spectromorphological analysis notation, developed for composition and analysis. A detailed description of the data format is followed by two examples of its application in a computer-aided composition process resulting in the sounding interpretation of two score excerpts of an electroacoustic composition. Generating sound structures as symbolic notation data in this way provided possibilities for the creation of sound-based music otherwise limited to works of traditional notation.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45212747","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}
{"title":"Products of Interest","authors":"","doi":"10.1162/comj_r_00671","DOIUrl":"https://doi.org/10.1162/comj_r_00671","url":null,"abstract":"","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"47 1","pages":"115-127"},"PeriodicalIF":0.4,"publicationDate":"2023-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142691667","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}
{"title":"A Fuzzy Gestural AI Approach for Expressive Interactivity in Multitouch Digital Musical Instruments Based on Laban Descriptors","authors":"Marie González-Inostroza;Rodrigo F. Cádiz","doi":"10.1162/comj_a_00673","DOIUrl":"10.1162/comj_a_00673","url":null,"abstract":"","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"47 1","pages":"22-43"},"PeriodicalIF":0.4,"publicationDate":"2023-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140623296","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}
{"title":"Carl Stone: Electronic Music from 1972–2022","authors":"Ross Feller","doi":"10.1162/comj_r_00668","DOIUrl":"https://doi.org/10.1162/comj_r_00668","url":null,"abstract":"","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"47 1","pages":"110-113"},"PeriodicalIF":0.4,"publicationDate":"2023-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142691760","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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