artists, etc.).” Initially, Suchánek wanted this new group to meet weekly, exploring the territory of new media art, and creating new works for the Planetarium. Overall, he views meetings like this as a process of social interaction, and a vehicle for building new forms of cooperation, whose role is to encourage recovery from the effects of the Covid pandemic. Suchánek suggests one can think of trychtýř (funnel) as denoting a total process of working with a range of artistic approaches and their results intended for presentation at SONDA. As such, Suchánek views his own role of mediator of this project as minimal, where no specific creative outcome or pattern of development for selected participants to follow has been designed or managed. Many artists contributed either a collaborative performance or an installation to the festival. As one scans the online program, collaborations are a core element of producing SONDA, overall. At times, for those who were on location, this aspect of the festival was manifested in natural divisions of pairs and trios. Suchánek has observed this process of “pairing, routing, and connecting of people.” For him, the set with Tomoko Sauvage, Anna Stepanova, and Matuš Stenko is such an example. Suchánek observed this collaboration develop in a logical manner, stemming from each artist’s creative strengths. Starting with Anna Stepanova, she “works with glitch phenomenon in high-resolution scanned objects.” Matuš Stenko, a motion graphic designer, could bring “her images into life—nonstop ultraslow zoom through super-detailed strange and amazingly beautiful objects.” These contributions, alongside Sauvage’s performance, led to a distinctive result. An interesting contribution called ROJ (meaning cluster or swarm) is detailed in the program as an intervention of students from the Department of Art at Masaryk University. ROJ was originally Suchánek’s audiovisual installation. It was initially presented on the facade of the Faculty of Education building in 2012, consisting of 969 RGB LEDs, and mediated using the Max programming environment. For SONDA, this system was made available for the students of Jana Pavla Francová, allowing them to create their own patterns, which were then mapped onto the building. Although the main artists during SONDA constructed works that were shaped in a manner, enabling them to improvise their respective sets, it is important to note that David Granström and Tadej Droljc both managed “prepared sets with predefined structure.” Suchánek has stated the following regarding Sauvage’s set as well: “Tomoko is an experienced performer with her water sound system, she had compositional structure too but she must also deal with unexpected behavior of the complex, sensitive system of hydrophones and feedback.” In contrast, Tomáš Vtípil merged the sounds of preparing kimchi, alongside the performance of a taped dancer—the performer’s movements were affected by having been “stuck to the floor” with tape. A
{"title":"Barry Schrader: Lost Analog","authors":"Ross Feller","doi":"10.1162/comj_r_00627","DOIUrl":"10.1162/comj_r_00627","url":null,"abstract":"artists, etc.).” Initially, Suchánek wanted this new group to meet weekly, exploring the territory of new media art, and creating new works for the Planetarium. Overall, he views meetings like this as a process of social interaction, and a vehicle for building new forms of cooperation, whose role is to encourage recovery from the effects of the Covid pandemic. Suchánek suggests one can think of trychtýř (funnel) as denoting a total process of working with a range of artistic approaches and their results intended for presentation at SONDA. As such, Suchánek views his own role of mediator of this project as minimal, where no specific creative outcome or pattern of development for selected participants to follow has been designed or managed. Many artists contributed either a collaborative performance or an installation to the festival. As one scans the online program, collaborations are a core element of producing SONDA, overall. At times, for those who were on location, this aspect of the festival was manifested in natural divisions of pairs and trios. Suchánek has observed this process of “pairing, routing, and connecting of people.” For him, the set with Tomoko Sauvage, Anna Stepanova, and Matuš Stenko is such an example. Suchánek observed this collaboration develop in a logical manner, stemming from each artist’s creative strengths. Starting with Anna Stepanova, she “works with glitch phenomenon in high-resolution scanned objects.” Matuš Stenko, a motion graphic designer, could bring “her images into life—nonstop ultraslow zoom through super-detailed strange and amazingly beautiful objects.” These contributions, alongside Sauvage’s performance, led to a distinctive result. An interesting contribution called ROJ (meaning cluster or swarm) is detailed in the program as an intervention of students from the Department of Art at Masaryk University. ROJ was originally Suchánek’s audiovisual installation. It was initially presented on the facade of the Faculty of Education building in 2012, consisting of 969 RGB LEDs, and mediated using the Max programming environment. For SONDA, this system was made available for the students of Jana Pavla Francová, allowing them to create their own patterns, which were then mapped onto the building. Although the main artists during SONDA constructed works that were shaped in a manner, enabling them to improvise their respective sets, it is important to note that David Granström and Tadej Droljc both managed “prepared sets with predefined structure.” Suchánek has stated the following regarding Sauvage’s set as well: “Tomoko is an experienced performer with her water sound system, she had compositional structure too but she must also deal with unexpected behavior of the complex, sensitive system of hydrophones and feedback.” In contrast, Tomáš Vtípil merged the sounds of preparing kimchi, alongside the performance of a taped dancer—the performer’s movements were affected by having been “stuck to the floor” with tape. A","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 4","pages":"74-76"},"PeriodicalIF":0.0,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43434578","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 Message passing between processes and across networks offers a powerful method to integrate and coordinate various music programs, facilitating software reuse, modularity, and parallel processing. Networking can integrate components that use different languages and hardware. In this article we describe O2, a flexible protocol for communication ranging from the thread level up to the level of global networks. Messages in O2 are similar to those of Open Sound Control, but O2 offers many additional features, including discovery, clock synchronization, a reliable message delivery option, and routing based on services rather than specific network addresses. A bridge mechanism extends the reach of O2 to web browsers, shared memory threads, and small microcontrollers. The design, implementation, and applications of O2 are described.
{"title":"Communication for Real-Time Music Systems: An Overview of O2","authors":"Roger B. Dannenberg","doi":"10.1162/comj_a_00620","DOIUrl":"10.1162/comj_a_00620","url":null,"abstract":"Abstract Message passing between processes and across networks offers a powerful method to integrate and coordinate various music programs, facilitating software reuse, modularity, and parallel processing. Networking can integrate components that use different languages and hardware. In this article we describe O2, a flexible protocol for communication ranging from the thread level up to the level of global networks. Messages in O2 are similar to those of Open Sound Control, but O2 offers many additional features, including discovery, clock synchronization, a reliable message delivery option, and routing based on services rather than specific network addresses. A bridge mechanism extends the reach of O2 to web browsers, shared memory threads, and small microcontrollers. The design, implementation, and applications of O2 are described.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 4","pages":"7-19"},"PeriodicalIF":0.0,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41331588","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 SONDA Festival of Electroacoustic Music and Audiovisual Performances took place for the first time in Brno, Czech Republic, on 12 November 2022. SONDA is a production linked with SVITAVA—a transmedia art lab in Brno. SVITAVA is an acronym for sound, visual, interactive, technology, art, virtual, academy. Their aim is to explore “interdisciplinary ways of cooperation, team implementation, and nonhierarchical forms of education in the post-digital age.” The SONDA festival intends “to explore the vast territory of experimental electroacoustic music, live electronics, audiovisual performances, and sound art,” programming established local and international practitioners, as well as providing “a space for presenting artistic ideas of the emerging generation of musicians,
{"title":"SONDA Festival 2022","authors":"Seth Rozanoff","doi":"10.1162/comj_r_00628","DOIUrl":"10.1162/comj_r_00628","url":null,"abstract":"The SONDA Festival of Electroacoustic Music and Audiovisual Performances took place for the first time in Brno, Czech Republic, on 12 November 2022. SONDA is a production linked with SVITAVA—a transmedia art lab in Brno. SVITAVA is an acronym for sound, visual, interactive, technology, art, virtual, academy. Their aim is to explore “interdisciplinary ways of cooperation, team implementation, and nonhierarchical forms of education in the post-digital age.” The SONDA festival intends “to explore the vast territory of experimental electroacoustic music, live electronics, audiovisual performances, and sound art,” programming established local and international practitioners, as well as providing “a space for presenting artistic ideas of the emerging generation of musicians,","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 4","pages":"73-74"},"PeriodicalIF":0.0,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44420490","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}
GuiaRT is an interactive musical setup based on a nylon-string guitar equipped with hexaphonic piezoelectric pickups. It consists of a modular set of real-time tools for the symbolic transcription, variation, and triggering of selected segments during a performance, as well as some audio processing capabilities. Its development relied on an iterative approach, with distinct phases dedicated to feature extraction, transcriptions, and creative use. This article covers the motivations for this augmented instrument and several details of its implementation, including the hardware and strategies for identifying the most typical types of sound produced on a nylon-string guitar, as well as tools for symbolic musical transformations. This acoustic–digital interface was primarily designed for interactive exploration, and it has also been effectively used in performance analyses and as a pedagogical tool.
{"title":"Real-Time Symbolic Transcription and Interactive Transformation Using a Hexaphonic Nylon-String Guitar","authors":"Sérgio Freire;Augusto Armondes;Rubens Silva","doi":"10.1162/comj_a_00625","DOIUrl":"10.1162/comj_a_00625","url":null,"abstract":"GuiaRT is an interactive musical setup based on a nylon-string guitar equipped with hexaphonic piezoelectric pickups. It consists of a modular set of real-time tools for the symbolic transcription, variation, and triggering of selected segments during a performance, as well as some audio processing capabilities. Its development relied on an iterative approach, with distinct phases dedicated to feature extraction, transcriptions, and creative use. This article covers the motivations for this augmented instrument and several details of its implementation, including the hardware and strategies for identifying the most typical types of sound produced on a nylon-string guitar, as well as tools for symbolic musical transformations. This acoustic–digital interface was primarily designed for interactive exploration, and it has also been effectively used in performance analyses and as a pedagogical tool.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 4","pages":"20-39"},"PeriodicalIF":0.0,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42489401","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 introduces the Orchidea Orchestral Qualities framework (OOQ), an extension of the Orchidea environment for computer-aided orchestration. Traditional target-based orchestration generally reconstructs a target sound “as faithfully as possible” with a collection of samples. But more often than not, composers do not have specific targets in mind while performing orchestration tasks. A large class of orchestration practices deal with the transformation of musical material to enhance or reduce certain of its qualities (such as making a score more “brilliant,” “blurry,” “dense,” and so on). The OOQ framework implements this idea by making use of an analogy with digital signal processing. Scores and sounds are no longer used as targets, but rather as “sources” to be processed, not unlike what happens within a channel strip of a modern digital audio workstation. This article presents the rationale behind the OOQ framework, describes the behavior of its modules, and traces a path for future research on the subject.
{"title":"A Framework for Modifying Orchestral Qualities in Computer-Aided Orchestration","authors":"Daniele Ghisi;Carmine-Emanuele Cella","doi":"10.1162/comj_a_00621","DOIUrl":"10.1162/comj_a_00621","url":null,"abstract":"This article introduces the Orchidea Orchestral Qualities framework (OOQ), an extension of the Orchidea environment for computer-aided orchestration. Traditional target-based orchestration generally reconstructs a target sound “as faithfully as possible” with a collection of samples. But more often than not, composers do not have specific targets in mind while performing orchestration tasks. A large class of orchestration practices deal with the transformation of musical material to enhance or reduce certain of its qualities (such as making a score more “brilliant,” “blurry,” “dense,” and so on). The OOQ framework implements this idea by making use of an analogy with digital signal processing. Scores and sounds are no longer used as targets, but rather as “sources” to be processed, not unlike what happens within a channel strip of a modern digital audio workstation. This article presents the rationale behind the OOQ framework, describes the behavior of its modules, and traces a path for future research on the subject.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 4","pages":"57-72"},"PeriodicalIF":0.0,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64509000","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 iRig Pro Quattro I/O is a fourinput, two-output portable audio and MIDI interface that can also be used as a standalone microphone preamplifier or a line mixer (see Figure 1). It can be used to facilitate recording to a mobile device, computer, DSLR camera, or connected directly to a PA system. The input and output connections are located on the top, bottom, left, and right panels, with the top panel reserved for controls and meters. The interface has four combination XLR/1/4-in input jacks. The first two double-up as Hi-Z instrument inputs and the second two can act as line inputs. Two further line inputs are available on a 1/8-in mini stereo jack input and RCA ports. There are microphone preamplifiers included on all four XLR inputs, with phantom power that can be switched on/off for pairs of channels. There is also a mini-jack input and output for MIDI. The interface has a stereo line output on 1/8-in mini jack port (unbalanced), and left and right XLR outputs (balanced). It also has a miniDIN connector for connecting to external devices. A number of cables are supplied with purchase: lightning to mini-DIN, USB-C to mini-DIN, and USB-A to mini-DIN. A TRS male to female adapter, a 1/4-in thread mount adapter, and four AA batteries and also provided. The interface is MFi-certified for use with iOS devices without the need for adapters. The interface supports sample rates up to 96 kHz at 24-bit depth. It has a built-in omnidirectional microelectromechanical systems (MEMS) microphone that has a frequency response of 30 Hz to 20 kHz and a maximum SPL of 110 dB. The iRig
iRig Pro Quattro I/O是一个四输入、两输出的便携式音频和MIDI接口，也可以用作独立的麦克风前置放大器或线路混频器（见图1）。它可以用于方便记录到移动设备、计算机、单反相机或直接连接到PA系统。输入和输出连接位于顶部、底部、左侧和右侧面板上，顶部面板保留用于控制和仪表。接口有四个XLR/1/4英寸组合输入插孔。前两个兼作Hi-Z仪器输入，后两个可作为线路输入。1/8英寸迷你立体声插孔输入和RCA端口上还有两个线路输入。所有四个XLR输入都包含麦克风前置放大器，具有可为成对通道打开/关闭的幻影电源。还有一个用于MIDI的迷你插孔输入和输出。该接口在1/8英寸迷你插孔端口上有立体声线路输出（不平衡），左、右XLR输出（平衡）。它还有一个用于连接外部设备的miniDIN连接器。购买时提供了许多电缆：闪电至迷你DIN、USB-C至迷你DIN和USB-A至迷你DIN。还提供了一个TRS公母适配器、一个1/4英寸螺纹安装适配器和四个AA电池。该接口经过MFi认证，可与iOS设备一起使用，无需适配器。该接口支持24位深度下高达96 kHz的采样率。它有一个内置的全向微机电系统（MEMS）麦克风，其频率响应为30 Hz至20 kHz，最大SPL为110 dB。iRig
{"title":"Products of Interest","authors":"","doi":"10.1162/comj_r_00624","DOIUrl":"10.1162/comj_r_00624","url":null,"abstract":"The iRig Pro Quattro I/O is a fourinput, two-output portable audio and MIDI interface that can also be used as a standalone microphone preamplifier or a line mixer (see Figure 1). It can be used to facilitate recording to a mobile device, computer, DSLR camera, or connected directly to a PA system. The input and output connections are located on the top, bottom, left, and right panels, with the top panel reserved for controls and meters. The interface has four combination XLR/1/4-in input jacks. The first two double-up as Hi-Z instrument inputs and the second two can act as line inputs. Two further line inputs are available on a 1/8-in mini stereo jack input and RCA ports. There are microphone preamplifiers included on all four XLR inputs, with phantom power that can be switched on/off for pairs of channels. There is also a mini-jack input and output for MIDI. The interface has a stereo line output on 1/8-in mini jack port (unbalanced), and left and right XLR outputs (balanced). It also has a miniDIN connector for connecting to external devices. A number of cables are supplied with purchase: lightning to mini-DIN, USB-C to mini-DIN, and USB-A to mini-DIN. A TRS male to female adapter, a 1/4-in thread mount adapter, and four AA batteries and also provided. The interface is MFi-certified for use with iOS devices without the need for adapters. The interface supports sample rates up to 96 kHz at 24-bit depth. It has a built-in omnidirectional microelectromechanical systems (MEMS) microphone that has a frequency response of 30 Hz to 20 kHz and a maximum SPL of 110 dB. The iRig","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 4","pages":"77-88"},"PeriodicalIF":0.0,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49424972","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}
In this issue’s first article, Roger Dannenberg presents new developments in his O2 software, which he refers to as “communications middleware for interactive music systems.” The software sends messages between machines, including over the Internet, or between processes or threads on a single machine. O2 has similarities to Matt Wright and Adrian Freed’s Open Sound Control (OSC) protocol but offers important additional functionality, as the article explains. Dannenberg’s research won the Best Paper award at the 2022 International Computer Music Conference (ICMC). That award entails publication of an extended version of the paper in Computer Music Journal, and his current article actually represents a thorough rewrite. Augmented instruments constitute an important category of interfaces for performing musicians. Whereas many types of interface require new performance techniques or simply emulate the interfaces of existing instruments, an augmented instrument actually incorporates a traditional musical instrument wholesale but extends it, perhaps by adding sensors to process the instrument’s sound. Such is the case with GuiaRT, an augmented nylon-string guitar described by Freire, Armondes, and Silva in this issue. The guitar uses a hexaphonic pickup to capture each string’s sound, which undergoes continuous audio analysis.
{"title":"About This Issue","authors":"Douglas Keislar","doi":"10.1162/comj_e_00626","DOIUrl":"10.1162/comj_e_00626","url":null,"abstract":"In this issue’s first article, Roger Dannenberg presents new developments in his O2 software, which he refers to as “communications middleware for interactive music systems.” The software sends messages between machines, including over the Internet, or between processes or threads on a single machine. O2 has similarities to Matt Wright and Adrian Freed’s Open Sound Control (OSC) protocol but offers important additional functionality, as the article explains. Dannenberg’s research won the Best Paper award at the 2022 International Computer Music Conference (ICMC). That award entails publication of an extended version of the paper in Computer Music Journal, and his current article actually represents a thorough rewrite. Augmented instruments constitute an important category of interfaces for performing musicians. Whereas many types of interface require new performance techniques or simply emulate the interfaces of existing instruments, an augmented instrument actually incorporates a traditional musical instrument wholesale but extends it, perhaps by adding sensors to process the instrument’s sound. Such is the case with GuiaRT, an augmented nylon-string guitar described by Freire, Armondes, and Silva in this issue. The guitar uses a hexaphonic pickup to capture each string’s sound, which undergoes continuous audio analysis.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 4","pages":"1-2"},"PeriodicalIF":0.0,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42696532","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 problem of target-based computer-aided orchestration is a recurring topic in the contemporary music community. Because of its complexity, computer-aided orchestration remains a partially unsolved problem and several systems have been developed in the last twenty years. This article presents a practical overview of the recently introduced Orchidea framework for dynamic computer-aided target-based orchestration. Orchidea continues the line of tools dedicated to the subject (the so-called Orchid* family) originally developed at the Institut de Recherche et Coordination Acoustique/Musique in Paris. Unlike its predecessors, Orchidea uses a combination of optimization techniques that include stochastic matching pursuit, long short-term memory neural networks, and monoobjective evolutionary optimization, with a specifically designed cost function. Symbolic constraints can be integrated in the cost function, and temporally evolving sounds are handled by segmenting them into a set of static targets optimized jointly and then connected. Orchidea is deployed in three different ways: a standalone application, designed to streamline a simplified compositional workflow; a Max package, targeted at composers willing to connect target-based orchestration to the more general area of computer-aided composition; and a set of command-line tools, mostly intended for research purposes and batch processing. The main aim of this article is to present an overview of such software systems and show several instances of the Orchidea framework's application in recent musical productions, tracing the path for future research on the subject.
基于目标的计算机辅助编曲问题是当代音乐界反复讨论的话题。由于其复杂性，计算机辅助编排仍然是一个部分未解决的问题，在过去的二十年中已经开发了几个系统。本文介绍了最近引入的用于动态计算机辅助基于目标的编排的Orchidea框架的实际概述。Orchidea延续了最初由巴黎的Institut de Recherche et Coordination Acoustique/Musique开发的专门用于该主题(所谓的Orchid* family)的工具系列。与它的前辈不同，Orchidea使用了包括随机匹配追踪、长短期记忆神经网络和单目标进化优化在内的优化技术组合，并具有专门设计的成本函数。符号约束可以整合到代价函数中，并且通过将它们分割成一组共同优化然后连接的静态目标来处理时间进化的声音。Orchidea以三种不同的方式部署:一个独立的应用程序，旨在简化简化的合成工作流程;一个Max包，针对那些愿意将基于目标的编曲与更广泛的计算机辅助作曲领域联系起来的作曲家;以及一组命令行工具，主要用于研究目的和批处理。本文的主要目的是对此类软件系统进行概述，并展示Orchidea框架在最近音乐作品中的几个应用实例，为未来的研究指明方向。
{"title":"Dynamic Computer-Aided Orchestration in Practice with Orchidea","authors":"Carmine-Emanuele Cella;Daniele Ghisi;Yan Maresz;Alessandro Petrolati;Alexandre Teiller;Philippe Esling","doi":"10.1162/comj_a_00629","DOIUrl":"10.1162/comj_a_00629","url":null,"abstract":"The problem of target-based computer-aided orchestration is a recurring topic in the contemporary music community. Because of its complexity, computer-aided orchestration remains a partially unsolved problem and several systems have been developed in the last twenty years. This article presents a practical overview of the recently introduced Orchidea framework for dynamic computer-aided target-based orchestration. Orchidea continues the line of tools dedicated to the subject (the so-called Orchid* family) originally developed at the Institut de Recherche et Coordination Acoustique/Musique in Paris. Unlike its predecessors, Orchidea uses a combination of optimization techniques that include stochastic matching pursuit, long short-term memory neural networks, and monoobjective evolutionary optimization, with a specifically designed cost function. Symbolic constraints can be integrated in the cost function, and temporally evolving sounds are handled by segmenting them into a set of static targets optimized jointly and then connected. Orchidea is deployed in three different ways: a standalone application, designed to streamline a simplified compositional workflow; a Max package, targeted at composers willing to connect target-based orchestration to the more general area of computer-aided composition; and a set of command-line tools, mostly intended for research purposes and batch processing. The main aim of this article is to present an overview of such software systems and show several instances of the Orchidea framework's application in recent musical productions, tracing the path for future research on the subject.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 4","pages":"40-56"},"PeriodicalIF":0.0,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43407719","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}
In this issue’s first article, Roger Dannenberg presents new developments in his O2 software, which he refers to as “communications middleware for interactive music systems.” The software sends messages between machines, including over the Internet, or between processes or threads on a single machine. O2 has similarities to Matt Wright and Adrian Freed’s Open Sound Control (OSC) protocol but offers important additional functionality, as the article explains. Dannenberg’s research won the Best Paper award at the 2022 International Computer Music Conference (ICMC). That award entails publication of an extended version of the paper in Computer Music Journal, and his current article actually represents a thorough rewrite. Augmented instruments constitute an important category of interfaces for performing musicians. Whereas many types of interface require new performance techniques or simply emulate the interfaces of existing instruments, an augmented instrument actually incorporates a traditional musical instrument wholesale but extends it, perhaps by adding sensors to process the instrument’s sound. Such is the case with GuiaRT, an augmented nylon-string guitar described by Freire, Armondes, and Silva in this issue. The guitar uses a hexaphonic pickup to capture each string’s sound, which undergoes continuous audio analysis.
{"title":"About This Issue","authors":"Douglas Keislar","doi":"10.1162/comj_e_00640","DOIUrl":"https://doi.org/10.1162/comj_e_00640","url":null,"abstract":"In this issue’s first article, Roger Dannenberg presents new developments in his O2 software, which he refers to as “communications middleware for interactive music systems.” The software sends messages between machines, including over the Internet, or between processes or threads on a single machine. O2 has similarities to Matt Wright and Adrian Freed’s Open Sound Control (OSC) protocol but offers important additional functionality, as the article explains. Dannenberg’s research won the Best Paper award at the 2022 International Computer Music Conference (ICMC). That award entails publication of an extended version of the paper in Computer Music Journal, and his current article actually represents a thorough rewrite. Augmented instruments constitute an important category of interfaces for performing musicians. Whereas many types of interface require new performance techniques or simply emulate the interfaces of existing instruments, an augmented instrument actually incorporates a traditional musical instrument wholesale but extends it, perhaps by adding sensors to process the instrument’s sound. Such is the case with GuiaRT, an augmented nylon-string guitar described by Freire, Armondes, and Silva in this issue. The guitar uses a hexaphonic pickup to capture each string’s sound, which undergoes continuous audio analysis.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1","pages":"1-1"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44551322","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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