{"title":"Exploring the Many Tunings of Balinese Gamelan","authors":"William Sethares;Wayne Vitale","doi":"10.1162/comj_a_00686","DOIUrl":"10.1162/comj_a_00686","url":null,"abstract":"","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"47 2","pages":"21-33"},"PeriodicalIF":0.4,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142223864","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_00681","DOIUrl":"https://doi.org/10.1162/comj_r_00681","url":null,"abstract":"","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"47 2","pages":"74-88"},"PeriodicalIF":0.4,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142691671","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":"The Effects of Convolution Reverberation on the Emotional Characteristics of Musical Instrument Sounds","authors":"Ronald K. Mo;Andrew Horner","doi":"10.1162/comj_a_00684","DOIUrl":"10.1162/comj_a_00684","url":null,"abstract":"","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"47 2","pages":"57-71"},"PeriodicalIF":0.4,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141863890","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 a series of workshop activities carried out with expert musicians to imagine new musical instruments through design fiction. At the workshop, participants crafted nonfunctional prototypes of instruments they would want to use in their own performance practice. Through analysis of the workshop activities, a set of design specifications was developed that can be applied to the design of new digital musical instruments intended for use in real-world artistic practice. In addition to generating tangible elements for instrument design, the theories and models utilized, drawn from human-computer interaction and human-centered design, are offered as a possible model for merging the generation of creative ideas with functional design outputs in a variety of applications within and beyond music and the arts.
{"title":"From Fiction to Function: Imagining New Instruments through Design Workshops","authors":"John Sullivan, M. Wanderley, C. Guastavino","doi":"10.1162/comj_a_00644","DOIUrl":"https://doi.org/10.1162/comj_a_00644","url":null,"abstract":"\u0000 This article introduces a series of workshop activities carried out with expert musicians to imagine new musical instruments through design fiction. At the workshop, participants crafted nonfunctional prototypes of instruments they would want to use in their own performance practice. Through analysis of the workshop activities, a set of design specifications was developed that can be applied to the design of new digital musical instruments intended for use in real-world artistic practice. In addition to generating tangible elements for instrument design, the theories and models utilized, drawn from human-computer interaction and human-centered design, are offered as a possible model for merging the generation of creative ideas with functional design outputs in a variety of applications within and beyond music and the arts.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41575631","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}
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}
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