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,
{"title":"James Dashow: Soundings in Pure Duration, Volume 2","authors":"Ross Feller","doi":"10.1162/comj_r_00642","DOIUrl":"10.1162/comj_r_00642","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":"46 1-2","pages":"120-122"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41341559","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 : 2022-03-30DOI: 10.1177/15269248221087441
Robert M Shavelle, Rachel C Saur, Ji Hun Kwak, Jordan C Brooks, Bilal Hameed
Introduction: Non-Alcoholic Steatohepatitis is an increasing reason for liver transplantation in the western world. Knowledge of recipient life expectancy may assist in prudent allocation of a relatively scarce supply of donor livers. Research Questions: We calculated life expectancies for Non-alcoholic steatohepatitis (NASH) patients both at time of transplant and one year later, stratified by key risk factors, and examined whether survival has improved in recent years. Design: Data on 6635 NASH patients who underwent liver transplantation in the MELD era (2002-2018) from the United States OPTN database were analyzed using the Cox proportional hazards regression model and life table methods. Results: Factors related to survival were age, presence of diabetes or hepatic encephalopathy (HE), and whether the patient required dialysis in the week prior to transplant. Other important factors were whether the patient was working, hospitalization prior to transplant, ventilator support, and length of hospital stay (LOS). Survival improved over the study period at roughly 4.5% per calendar year during the first year posttransplant, though no improvement was observed in those who had survived one year. Conclusion: Life expectancy in NASH transplant patients was much reduced from normal, and varied according to age, medical factors, status at transplant, and post transplant course. Over the 17-year study period, patient survival improved markedly during the first year posttransplant, though not thereafter. The results given here may prove helpful in medical decision-making regarding treatment for both liver disease and other medical conditions, as they provide both clinicians and their patients with evidence-based information on prognosis.
{"title":"Life Expectancy after Liver Transplantation for NASH.","authors":"Robert M Shavelle, Rachel C Saur, Ji Hun Kwak, Jordan C Brooks, Bilal Hameed","doi":"10.1177/15269248221087441","DOIUrl":"10.1177/15269248221087441","url":null,"abstract":"<p><p><b>Introduction:</b> Non-Alcoholic Steatohepatitis is an increasing reason for liver transplantation in the western world. Knowledge of recipient life expectancy may assist in prudent allocation of a relatively scarce supply of donor livers. <b>Research Questions:</b> We calculated life expectancies for Non-alcoholic steatohepatitis (NASH) patients both at time of transplant and one year later, stratified by key risk factors, and examined whether survival has improved in recent years. <b>Design:</b> Data on 6635 NASH patients who underwent liver transplantation in the MELD era (2002-2018) from the United States OPTN database were analyzed using the Cox proportional hazards regression model and life table methods. <b>Results:</b> Factors related to survival were age, presence of diabetes or hepatic encephalopathy (HE), and whether the patient required dialysis in the week prior to transplant. Other important factors were whether the patient was working, hospitalization prior to transplant, ventilator support, and length of hospital stay (LOS). Survival improved over the study period at roughly 4.5% per calendar year during the first year posttransplant, though no improvement was observed in those who had survived one year. <b>Conclusion:</b> Life expectancy in NASH transplant patients was much reduced from normal, and varied according to age, medical factors, status at transplant, and post transplant course. Over the 17-year study period, patient survival improved markedly during the first year posttransplant, though not thereafter. The results given here may prove helpful in medical decision-making regarding treatment for both liver disease and other medical conditions, as they provide both clinicians and their patients with evidence-based information on prognosis.</p>","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"8 1","pages":"15269248221087441"},"PeriodicalIF":0.8,"publicationDate":"2022-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90995353","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 : 2022-01-12DOI: 10.1093/obo/9780199757824-0306
This article covers the dissemination of musical scores by technical means. The function of both printing and publication is to produce multiple copies of a work or a group of works and to arrange for the distribution of those copies to many purchasers. This requires diverse skills: on the one hand, the ability to print, involving preparing a copy of the music in a form suitable for the printing press, and then producing the copies; on the other, to make marketing decisions, to handle advertising and distribution of copies to individuals or to music shops, and to budget and plan for profits. Since the first printed music produced by Ottaviano Petrucci at the beginning of the 16th century, printing has been developed in Europe on a broad scale. Its technical requirements have changed from movable type to engraving, lithography, and, most recently, the computer. Entries are arranged to cover these activities separately, and then provide an introduction to bibliography, the scholarly study of both activities. Descriptive bibliography and analytic bibliography are recent in the field of music; they have been primarily devoted to the study of the printers and publishers from the 16th to the 18th centuries established in the main centers in Europe, including Venice, Paris, Antwerp, Frankfurt, London, and Vienna. Specific topics have become of increasing interest in recent years, including patterns of distributing copies and reaching markets and music appearing in general cultural periodicals and magazines. In addition, two subjects have risen to importance, the first, the paratext, or matters of design, which is sparsely discussed in connection with music; and the second, the place of music and its editions in cultural and intellectual history. Use of printed music has changed during the 20th century. Employed as a mean for performing and circulating music among musicians, professionals, and amateurs during four centuries, printed music became a support to produce performing rights when audiovisual media became the main access to music. Another important evolution has been the production of different kind of editions. During a long period, publishers sold the music written day by day for the entertainment of specific groups in society and for a specific purpose—liturgy, concert life, house music. Following a growing interest in the music of the past, they began to produce collected works and critical editions that reconcile mass production to the quality of the publishing.
{"title":"Printing and Publishing of Music","authors":"","doi":"10.1093/obo/9780199757824-0306","DOIUrl":"https://doi.org/10.1093/obo/9780199757824-0306","url":null,"abstract":"This article covers the dissemination of musical scores by technical means. The function of both printing and publication is to produce multiple copies of a work or a group of works and to arrange for the distribution of those copies to many purchasers. This requires diverse skills: on the one hand, the ability to print, involving preparing a copy of the music in a form suitable for the printing press, and then producing the copies; on the other, to make marketing decisions, to handle advertising and distribution of copies to individuals or to music shops, and to budget and plan for profits. Since the first printed music produced by Ottaviano Petrucci at the beginning of the 16th century, printing has been developed in Europe on a broad scale. Its technical requirements have changed from movable type to engraving, lithography, and, most recently, the computer. Entries are arranged to cover these activities separately, and then provide an introduction to bibliography, the scholarly study of both activities. Descriptive bibliography and analytic bibliography are recent in the field of music; they have been primarily devoted to the study of the printers and publishers from the 16th to the 18th centuries established in the main centers in Europe, including Venice, Paris, Antwerp, Frankfurt, London, and Vienna. Specific topics have become of increasing interest in recent years, including patterns of distributing copies and reaching markets and music appearing in general cultural periodicals and magazines. In addition, two subjects have risen to importance, the first, the paratext, or matters of design, which is sparsely discussed in connection with music; and the second, the place of music and its editions in cultural and intellectual history. Use of printed music has changed during the 20th century. Employed as a mean for performing and circulating music among musicians, professionals, and amateurs during four centuries, printed music became a support to produce performing rights when audiovisual media became the main access to music. Another important evolution has been the production of different kind of editions. During a long period, publishers sold the music written day by day for the entertainment of specific groups in society and for a specific purpose—liturgy, concert life, house music. Following a growing interest in the music of the past, they began to produce collected works and critical editions that reconcile mass production to the quality of the publishing.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"33 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79207013","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 : 2022-01-12DOI: 10.1093/obo/9780199757824-0308
This bibliography covers scholarship on selected protest songs of the musician Thomas “Mukanya” Mapfumo (b. 1945) that were written in colonial and postcolonial Zimbabwe. In keeping with the Marxist cultural theoretical orientation that is evident in research on this subject, the organization of these entries traces the sociopolitical engagement of Mapfumo’s songs that reflect praise and dissent during the Second and Third Chimurenga wars of political liberation, respectively. Discourse on Zimbabwe’s economic challenges has positive and negative interpretations. Mamdani 2005 and Bond and Manyanya 2002 (both cited under General Overview) state that the Zimbabwe African National Union-Patriotic Front (ZANU-PF) inherited an economy that had already suffered due to pre-independence policies. Dossa 2007 (under General Overview) argues that development is meant to perpetuate Western dominance. Manjengwa 2007 (under General Overview) blames the ruling party’s top-down approach in implementing development programs. The first section of the bibliography analyzes the songs “Pfumvu paruzevha,” “Kuyaura,” “Chiruzevha chapera,” and “Tumira vana kuhondo,” which Mukanya composed to express the experiences of Zimbabweans during colonialism. Zimbabweans’ way of life was disrupted and Mukanya mirrored this cultural upset through protest songs. The songs resonated well with the ideology of the ZANU-PF. Soon after independence, Mapfumo sang celebration songs (“Zimbabwe” and “Rakarira jongwe”). The second section examines protest songs penned after independence (“Varombo kuvarombo,” “Ndiani waparadza musha,” “Musatambe nenyika,” “Disaster,” “Corruption,” “Mamvemve,” “Maiti kurima hamubvire,” “Chauya chauya,” and “Ndangariro”). The scenario deteriorated due to alleged misgovernance by the ruling ZANU-PF elite, a situation that attracted Mukanya’s criticism. The bibliography traces how the transition of ZANU-PF from heroes to villains is portrayed through Mukanya’s music. During the armed struggle, Mapfumo sided with the liberation war movement. This changed after independence, and Mapfumo allegorically poses questions pointing at the empty promises ZANU-PF leaders made to uplift Zimbabweans’ standard of living. Mukanya sang about the contested land redistribution in Zimbabwe. Consequently, Mapfumo was stalked by state repressive agents until he fled to live in exile in the United States in 2000. He yearned for Ubuntu philosophy, nationalism, and unity. People may differ ideologically, but they ought to accept one another as a nation. This fosters positive peace, which Zimbabweans have yearned for over four decades. Mapfumo wants people to be economically empowered. He has been incarcerated before and he is fearless. Chimurenga music is a voice for the downtrodden masses. Mukanya’s songs that have explicit political messages were banned from airplay by the government. Mapfumo has remained united with the people he is fighting for despite living in exile. Mapfumo uses m
本参考书目涵盖了音乐家Thomas“Mukanya”Mapfumo(生于1945年)在殖民和后殖民津巴布韦创作的精选抗议歌曲的奖学金。为了与马克思主义文化理论取向保持一致，这些条目的组织追溯了Mapfumo歌曲的社会政治参与，这些歌曲分别反映了第二次和第三次奇穆伦加政治解放战争期间的赞美和异议。关于津巴布韦经济挑战的论述有积极和消极的解释。Mamdani 2005和Bond and Manyanya 2002(两者均引自总览)指出，津巴布韦非洲民族联盟爱国阵线(ZANU-PF)继承了由于独立前政策而已经遭受损失的经济。Dossa 2007 (General Overview下)认为，发展是为了使西方的主导地位永久化。《Manjengwa 2007》(总览)指责执政党在实施发展项目时采用自上而下的方法。参考书目的第一部分分析了穆坎亚为表达津巴布韦人在殖民时期的经历而创作的歌曲“pumvu paruzevha”、“Kuyaura”、“Chiruzevha chapera”和“Tumira vana kuhondo”。津巴布韦人的生活方式被打乱了，穆卡尼亚通过抗议歌曲反映了这种文化动荡。这些歌曲与非洲民族联盟-爱国阵线的意识形态产生了很好的共鸣。独立后不久，马普福莫唱起了庆祝歌曲(“津巴布韦”和“拉卡瑞拉jongwe”)。第二部分检视独立后创作的抗议歌曲(“Varombo kuvarombo”、“Ndiani waparadza musha”、“Musatambe nenyika”、“Disaster”、“Corruption”、“Mamvemve”、“Maiti kurima hamubvire”、“Chauya Chauya”和“Ndangariro”)。由于执政的非洲民族联盟-爱国阵线精英据称管理不善，局势恶化，这引起了穆卡尼亚的批评。参考书目追溯了非洲民族联盟-爱国阵线如何通过穆卡尼亚的音乐描绘从英雄到恶棍的转变。在武装斗争中，马富茂站在解放战争运动一边。这种情况在津巴布韦独立后发生了变化，马普福莫以讽喻的方式提出了一些问题，直指非洲民族联盟-爱国阵线领导人为提高津巴布韦人民的生活水平所做的空洞承诺。穆卡尼亚唱到了津巴布韦有争议的土地再分配。因此，马普福莫一直受到国家镇压人员的跟踪，直到2000年逃往美国流亡。他渴望乌班图哲学、民族主义和团结。人们可能有不同的意识形态，但他们应该作为一个民族接受彼此。这促进了津巴布韦人民40多年来所渴望的积极和平。Mapfumo希望人们在经济上获得权力。他以前被监禁过，他无所畏惧。奇穆伦加音乐是受压迫群众的声音。穆卡尼亚的歌曲含有明确的政治信息，因此被政府禁止播放。尽管流亡在外，马普福莫仍然与他为之奋斗的人民团结在一起。Mapfumo用音乐来抱怨人们的苦难。在非洲民族联盟-爱国阵线(ZANU-PF)霸权的背景下，他对津巴布韦的记忆仍然深深植根于奇穆伦加音乐中。他呼吁举行自由公正的选举，因为津巴布韦人民有权选择领导人，但是自2000年以来，选举结果一直存在争议。
{"title":"Thomas “Mukanya” Mapfumo and Songs of Protest in Colonial and Post-Independence Zimbabwe","authors":"","doi":"10.1093/obo/9780199757824-0308","DOIUrl":"https://doi.org/10.1093/obo/9780199757824-0308","url":null,"abstract":"This bibliography covers scholarship on selected protest songs of the musician Thomas “Mukanya” Mapfumo (b. 1945) that were written in colonial and postcolonial Zimbabwe. In keeping with the Marxist cultural theoretical orientation that is evident in research on this subject, the organization of these entries traces the sociopolitical engagement of Mapfumo’s songs that reflect praise and dissent during the Second and Third Chimurenga wars of political liberation, respectively. Discourse on Zimbabwe’s economic challenges has positive and negative interpretations. Mamdani 2005 and Bond and Manyanya 2002 (both cited under General Overview) state that the Zimbabwe African National Union-Patriotic Front (ZANU-PF) inherited an economy that had already suffered due to pre-independence policies. Dossa 2007 (under General Overview) argues that development is meant to perpetuate Western dominance. Manjengwa 2007 (under General Overview) blames the ruling party’s top-down approach in implementing development programs. The first section of the bibliography analyzes the songs “Pfumvu paruzevha,” “Kuyaura,” “Chiruzevha chapera,” and “Tumira vana kuhondo,” which Mukanya composed to express the experiences of Zimbabweans during colonialism. Zimbabweans’ way of life was disrupted and Mukanya mirrored this cultural upset through protest songs. The songs resonated well with the ideology of the ZANU-PF. Soon after independence, Mapfumo sang celebration songs (“Zimbabwe” and “Rakarira jongwe”). The second section examines protest songs penned after independence (“Varombo kuvarombo,” “Ndiani waparadza musha,” “Musatambe nenyika,” “Disaster,” “Corruption,” “Mamvemve,” “Maiti kurima hamubvire,” “Chauya chauya,” and “Ndangariro”). The scenario deteriorated due to alleged misgovernance by the ruling ZANU-PF elite, a situation that attracted Mukanya’s criticism. The bibliography traces how the transition of ZANU-PF from heroes to villains is portrayed through Mukanya’s music. During the armed struggle, Mapfumo sided with the liberation war movement. This changed after independence, and Mapfumo allegorically poses questions pointing at the empty promises ZANU-PF leaders made to uplift Zimbabweans’ standard of living. Mukanya sang about the contested land redistribution in Zimbabwe. Consequently, Mapfumo was stalked by state repressive agents until he fled to live in exile in the United States in 2000. He yearned for Ubuntu philosophy, nationalism, and unity. People may differ ideologically, but they ought to accept one another as a nation. This fosters positive peace, which Zimbabweans have yearned for over four decades. Mapfumo wants people to be economically empowered. He has been incarcerated before and he is fearless. Chimurenga music is a voice for the downtrodden masses. Mukanya’s songs that have explicit political messages were banned from airplay by the government. Mapfumo has remained united with the people he is fighting for despite living in exile. Mapfumo uses m","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"50 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78408733","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":"Narrative, Activism, and Aesthetics: Composing Electroacoustic Music for Mexicans","authors":"Rosalia Soria Luz","doi":"10.1162/comj_a_00634","DOIUrl":"10.1162/comj_a_00634","url":null,"abstract":"","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1-2","pages":"82-93"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64509058","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_00585","DOIUrl":"10.1162/comj_r_00585","url":null,"abstract":"","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"44 4","pages":"82-95"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47613917","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 vast majority of research on automatic chord transcription has been developed and tested on databases mainly focused on genres like pop and rock. Jazz is strongly based on improvisation, however, and the way harmony is interpreted is different from many other genres, causing state-of-the-art chord transcription systems to achieve poor performance. This article presents a computational system that transcribes chords from jazz recordings, addressing the specific challenges they present and considering their inherent musical aspects. Taking the raw audio and minor manually obtained inputs from the user, the system can jointly transcribe chords and detect the beat of a recording, allowing a lead sheet–like rendering as output. The analysis is implemented in two parts. First, all segments with a repeating chord progression (the chorus) are aligned based on their musical content using dynamic time warping. Second, the aligned segments are mixed and a convolutional recurrent neural network is used to simultaneously detect beats and transcribe chords. This automatic chord transcription system is trained and tested on jazz recordings only, and achieves better performance than other systems trained on larger databases that are not jazz specific. Additionally, it combines the beat-detection and chord transcription tasks, allowing the creation of a lead sheet–like representation that is easy to interpret by both researchers and musicians.
{"title":"Transcribing Lead Sheet-Like Chord Progressions of Jazz Recordings","authors":"Gabriel Durán;Patricio de la Cuadra","doi":"10.1162/comj_a_00579","DOIUrl":"10.1162/comj_a_00579","url":null,"abstract":"The vast majority of research on automatic chord transcription has been developed and tested on databases mainly focused on genres like pop and rock. Jazz is strongly based on improvisation, however, and the way harmony is interpreted is different from many other genres, causing state-of-the-art chord transcription systems to achieve poor performance. This article presents a computational system that transcribes chords from jazz recordings, addressing the specific challenges they present and considering their inherent musical aspects. Taking the raw audio and minor manually obtained inputs from the user, the system can jointly transcribe chords and detect the beat of a recording, allowing a lead sheet–like rendering as output. The analysis is implemented in two parts. First, all segments with a repeating chord progression (the chorus) are aligned based on their musical content using dynamic time warping. Second, the aligned segments are mixed and a convolutional recurrent neural network is used to simultaneously detect beats and transcribe chords. This automatic chord transcription system is trained and tested on jazz recordings only, and achieves better performance than other systems trained on larger databases that are not jazz specific. Additionally, it combines the beat-detection and chord transcription tasks, allowing the creation of a lead sheet–like representation that is easy to interpret by both researchers and musicians.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"44 4","pages":"26-42"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44657107","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}
Chris Cundy’s Crude Attempt is a collection of four tracks, constructed in his home studio in Gloucestershire, England. This work’s instrumental range consists of bass clarinet, a Korg MS20 synthesizer, Watkins Copicat tape echo, and amplified flutes—shaping a musical relationship between the bass clarinet and a sound world stemming from electronic instruments. Using this sonic palette, Cundy creates delicate and subtle timbral combinations. His studio environment, as well as the social restrictions due to Covid lockdown in England, greatly influenced Cundy’s recent thinking. As such, it is this social scenario that led to a heightened sense of place, compared with his previous work. This awareness enabled Cundy to shift focus onto sonic elements that ultimately result in carefully managing seemingly less demonstrative gestures—meaning that the issue of “liveness,” or how
Chris Cundy的《Crude Attempt》是他在英格兰格洛斯特郡的家庭工作室里创作的四首曲目。该作品的器乐范围包括低音单簧管，Korg MS20合成器，Watkins Copicat磁带回声和放大长笛，塑造了低音单簧管和源自电子乐器的声音世界之间的音乐关系。使用这种声音调色板，甘迪创造了精致而微妙的音色组合。他的工作室环境，以及英国因新冠疫情而受到的社会限制，极大地影响了他最近的思考。因此，与他之前的作品相比，正是这种社会场景导致了高度的地方感。这种意识使Cundy能够将注意力转移到声音元素上，最终导致仔细管理看似不那么明显的手势-这意味着“活泼”的问题，或者如何
{"title":"Chris Cundy: Crude Attempt","authors":"Seth Rozanoff","doi":"10.1162/comj_r_00584","DOIUrl":"10.1162/comj_r_00584","url":null,"abstract":"Chris Cundy’s Crude Attempt is a collection of four tracks, constructed in his home studio in Gloucestershire, England. This work’s instrumental range consists of bass clarinet, a Korg MS20 synthesizer, Watkins Copicat tape echo, and amplified flutes—shaping a musical relationship between the bass clarinet and a sound world stemming from electronic instruments. Using this sonic palette, Cundy creates delicate and subtle timbral combinations. His studio environment, as well as the social restrictions due to Covid lockdown in England, greatly influenced Cundy’s recent thinking. As such, it is this social scenario that led to a heightened sense of place, compared with his previous work. This awareness enabled Cundy to shift focus onto sonic elements that ultimately result in carefully managing seemingly less demonstrative gestures—meaning that the issue of “liveness,” or how","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"44 4","pages":"77-78"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48762205","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}
or backwards. But this was not the case. Instead, track 9 presents 39 seconds of a short text read by a Siri or Alexa voice, juxtaposed over the rhythmically synchronized chamber orchestra instruments. The works on this collection range in length from 20 seconds to about 5.5 minutes. They present the listener with a challenging listening experience as we encounter sonic snapshots of culture today—disturbing and ridiculous, but a force to be reckoned with.
{"title":"Örjan Sandred: Sonic Trails","authors":"Ross Feller","doi":"10.1162/comj_r_00583","DOIUrl":"10.1162/comj_r_00583","url":null,"abstract":"or backwards. But this was not the case. Instead, track 9 presents 39 seconds of a short text read by a Siri or Alexa voice, juxtaposed over the rhythmically synchronized chamber orchestra instruments. The works on this collection range in length from 20 seconds to about 5.5 minutes. They present the listener with a challenging listening experience as we encounter sonic snapshots of culture today—disturbing and ridiculous, but a force to be reckoned with.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"44 4","pages":"80-81"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47311543","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}
gins in a thumb piano improvisation by Durrant. Initially, Cundy had collaborated remotely with Durrant during the United Kingdom’s first Covid lockdown in 2020. This track also demonstrates Cundy’s approach to compositional reworking, resulting in what Cundy calls “a map or an abstraction of a remote landscape in which contour lines and place names have been taken away.” In this case, the thumb piano sound class has been completely masked, rendering the source unrecognizable. “First Attempt” (track 3) begins with the breath, producing a convincing starting point. Here, Cundy produces static textures similar to the ones heard in “Circular Attempt.” But this track demonstrates a more obvious use of flute and clarinet timbres, in contrast to other highlighted breath sounds. One hears a slow counterpoint between the individual sustaining lines as well, suggesting a process of stretching material horizontally. Compositional techniques like these could be characterized as Cundy’s attempts to expose the listener to varying perspectives and positions of a given sound mass. The final track, “Undoing,” suggests a collapse of one’s sound materials, demonstrating a way Cundy reflects on the previous pieces heard in this set. I also consider this track as a way that the composer galvanizes Crude Attempt. The same compositional devices heard in the previous tracks have been used, except in this track, Cundy manages to form an emergent other voice, which slowly projects outward. Ultimately, I view this track as another example of Cundy reworking his materials, leading him to develop yet another approach to shaping his sound materials. Cundy has discussed with me his stance on the issue of reworking material. He mentioned that, overall, he is “interested in how an artistic practice absorbs a language of sounds, accumulates vocabularies from various places, and how the individual sets about reworking these disparate strands in the present.” For Cundy, an example of this way of working stems from his experience recording “Mountains” (1977) for solo bass clarinet and magnetic tape by Dutch composer Ton de Leeuw. While recording this work, Cundy realized de Leeuw’s approach to working with North Indian traditional music without reproducing imitations of this tradition. Another influence related to Cundy’s developing vocabulary in Crude Attempt is the classic text New Sounds for Woodwind (originally published in 1967), written by Bruno Bartolozzi. This book served as a way to assist woodwind instrumentalists in order to adapt their microtonal playing when performing with the developing electronic sounds of the time—allowing electronic source material to perhaps affect musical decisions of conventional acoustic instrumentalists. This concept, wherein electronics influence one’s performance, is evidenced in Cundy’s home-studio approach. In a broader sense, one could view Cundy’s compositional approach as similar to Natalie Jeremijenko’s view of design, as well. She vi
达兰特即兴演奏的拇指钢琴中的杜松子酒。最初，康迪在2020年英国首次新冠肺炎封锁期间与达兰特进行了远程合作。这首曲目还展示了康迪的作曲方法，产生了康迪所说的“一幅地图或一个偏远景观的抽象，其中的轮廓线和地名被删除了。”在这种情况下，拇指钢琴声音类被完全掩盖，使音源无法识别。“第一次尝试”（曲目3）以呼吸开始，产生了一个令人信服的起点。在这里，Cundy产生了类似于“Circular Attempt”中听到的静态纹理。但与其他突出的呼吸声相比，这首曲目展示了长笛和单簧管音色的更明显使用。人们还可以听到单个支撑线之间的缓慢对位，这表明材料是水平拉伸的过程。像这样的作曲技巧可以被描述为康迪试图让听众接触到给定声量的不同视角和位置。最后一首曲目《Undoing》暗示了一个人的声音材料的崩溃，展示了康迪对这套作品中听到的前几首作品的反思方式。我也认为这首歌是作曲家激发《粗鲁的尝试》的一种方式。使用了与前几首曲目中相同的作曲装置，只是在这首曲目中，Cundy设法形成了一种突现的另一种声音，这种声音慢慢向外突出。最终，我将这首歌视为康迪重新创作素材的又一个例子，使他开发了另一种塑造声音素材的方法。Cundy已经和我讨论了他在返工材料问题上的立场。他提到，总的来说，他“感兴趣的是艺术实践如何吸收一种声音语言，积累来自不同地方的词汇，以及个人如何在当下着手重新创作这些不同的线索。”对于Cundy来说，这种工作方式的一个例子源于他为荷兰作曲家Ton de Leeuw的独奏低音单簧管和磁带录制《山脉》（1977）的经历。在录制这首作品时，Cundy意识到了de Leeuw在不复制这一传统的情况下与北印度传统音乐合作的方法。与Cundy在《粗鲁的尝试》中发展词汇有关的另一个影响是Bruno Bartolozzi撰写的经典文本《Woodwind的新声音》（最初出版于1967年）。这本书为木管乐器演奏家提供了一种帮助，使他们在与当时发展中的电子声音进行表演时能够调整他们的微音调演奏——这使得电子源材料可能会影响传统声学乐器演奏家的音乐决策。这一概念，其中电子产品影响一个人的表现，证明了康迪的家庭工作室方法。从更广泛的意义上讲，人们也可以将Cundy的构图方法视为与Natalie Jeremijenko的设计观相似。她认为所有的制作都是重新制作，因为它具有生成性和再生成性。例如，在《粗鲁的尝试》中，康迪成功地适应了他的物理环境和仪器（传统和电子），这表明了一个自我反射的过程。当Cundy从事自己的工作时，他继续整合他人的概念，并重新评估他以前的实践。正是在这个批判性评价过程的结果中，康迪在《粗试》中形成了自己独特的声音实践。
{"title":"Jack Callahan and Jeff Witscher: Stockhausen Syndrome","authors":"Ross Feller","doi":"10.1162/comj_r_00582","DOIUrl":"10.1162/comj_r_00582","url":null,"abstract":"gins in a thumb piano improvisation by Durrant. Initially, Cundy had collaborated remotely with Durrant during the United Kingdom’s first Covid lockdown in 2020. This track also demonstrates Cundy’s approach to compositional reworking, resulting in what Cundy calls “a map or an abstraction of a remote landscape in which contour lines and place names have been taken away.” In this case, the thumb piano sound class has been completely masked, rendering the source unrecognizable. “First Attempt” (track 3) begins with the breath, producing a convincing starting point. Here, Cundy produces static textures similar to the ones heard in “Circular Attempt.” But this track demonstrates a more obvious use of flute and clarinet timbres, in contrast to other highlighted breath sounds. One hears a slow counterpoint between the individual sustaining lines as well, suggesting a process of stretching material horizontally. Compositional techniques like these could be characterized as Cundy’s attempts to expose the listener to varying perspectives and positions of a given sound mass. The final track, “Undoing,” suggests a collapse of one’s sound materials, demonstrating a way Cundy reflects on the previous pieces heard in this set. I also consider this track as a way that the composer galvanizes Crude Attempt. The same compositional devices heard in the previous tracks have been used, except in this track, Cundy manages to form an emergent other voice, which slowly projects outward. Ultimately, I view this track as another example of Cundy reworking his materials, leading him to develop yet another approach to shaping his sound materials. Cundy has discussed with me his stance on the issue of reworking material. He mentioned that, overall, he is “interested in how an artistic practice absorbs a language of sounds, accumulates vocabularies from various places, and how the individual sets about reworking these disparate strands in the present.” For Cundy, an example of this way of working stems from his experience recording “Mountains” (1977) for solo bass clarinet and magnetic tape by Dutch composer Ton de Leeuw. While recording this work, Cundy realized de Leeuw’s approach to working with North Indian traditional music without reproducing imitations of this tradition. Another influence related to Cundy’s developing vocabulary in Crude Attempt is the classic text New Sounds for Woodwind (originally published in 1967), written by Bruno Bartolozzi. This book served as a way to assist woodwind instrumentalists in order to adapt their microtonal playing when performing with the developing electronic sounds of the time—allowing electronic source material to perhaps affect musical decisions of conventional acoustic instrumentalists. This concept, wherein electronics influence one’s performance, is evidenced in Cundy’s home-studio approach. In a broader sense, one could view Cundy’s compositional approach as similar to Natalie Jeremijenko’s view of design, as well. She vi","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"44 4","pages":"78-80"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46016294","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：