{"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}
Martin Supper;Erhard Grosskopf;Kirsten Reese;Miriam Akkermann;Mads Kjeldgaard
The overriding working topic for me was “Music and Space.” That may sound almost banal—music is always presented in a space. The given room can, however, have remarkably divergent effects on the artistic processes of composition. A brief overview of some of these effects is in order, even if some points may seem to be truisms. The diversity of architectural spaces has led to different reactions over the course of music history. The ensemble canzone developed during the Venetian School (circa 1530– 1620 CE) was intimately connected to the architectural and acoustic features of the Cathedral of San Marco. It is considered the trigger for the compositional inclusion of the multiple choir lofts of San Marco for polyphonic and multichoral works. In more recent times, a standard approach to designing concert halls has emerged among architects. Modern concert halls have acoustic properties that are primarily suitable for music of the 19th century. We see this, on the one hand, in the reverberation times of contemporary concert halls, but also in the arrangement of the podium and seating: The audience is seated as in a theater, facing (and listening) in one direction. In theater this arrangement is also referred to as a proscenium or a “picture frame” stage. Examination of electroacoustic music and sonic arts, and the associated media, leads to a (re-)consideration, including space and directional hearing as part and parcel of the compositional concept.
{"title":"Sound and Video Anthology: Program Notes","authors":"Martin Supper;Erhard Grosskopf;Kirsten Reese;Miriam Akkermann;Mads Kjeldgaard","doi":"10.1162/comj_a_00586","DOIUrl":"10.1162/comj_a_00586","url":null,"abstract":"The overriding working topic for me was “Music and Space.” That may sound almost banal—music is always presented in a space. The given room can, however, have remarkably divergent effects on the artistic processes of composition. A brief overview of some of these effects is in order, even if some points may seem to be truisms. The diversity of architectural spaces has led to different reactions over the course of music history. The ensemble canzone developed during the Venetian School (circa 1530– 1620 CE) was intimately connected to the architectural and acoustic features of the Cathedral of San Marco. It is considered the trigger for the compositional inclusion of the multiple choir lofts of San Marco for polyphonic and multichoral works. In more recent times, a standard approach to designing concert halls has emerged among architects. Modern concert halls have acoustic properties that are primarily suitable for music of the 19th century. We see this, on the one hand, in the reverberation times of contemporary concert halls, but also in the arrangement of the podium and seating: The audience is seated as in a theater, facing (and listening) in one direction. In theater this arrangement is also referred to as a proscenium or a “picture frame” stage. Examination of electroacoustic music and sonic arts, and the associated media, leads to a (re-)consideration, including space and directional hearing as part and parcel of the compositional concept.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"44 4","pages":"96-101"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41684882","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 presents a method for programming musical signal-processing circuits visually, using expressive idioms and abstractions from functional programming. Special attention is paid to the creative workflow, framing the education in a constructionist context. Our aim is to empower musicians in signal processing: The claim was tested in a university workshop for relatively inexperienced programmers. The participants were able to study and implement signal-processing algorithms from literature and integrate them into their preexisting workflow, and appeared to gain self-confidence while doing so.
{"title":"A Visual Programming Interface for Digital Luthiery: Implementing Circuits with Veneer","authors":"Vesa Norilo;Alejandro Olarte","doi":"10.1162/comj_a_00578","DOIUrl":"10.1162/comj_a_00578","url":null,"abstract":"This article presents a method for programming musical signal-processing circuits visually, using expressive idioms and abstractions from functional programming. Special attention is paid to the creative workflow, framing the education in a constructionist context. Our aim is to empower musicians in signal processing: The claim was tested in a university workshop for relatively inexperienced programmers. The participants were able to study and implement signal-processing algorithms from literature and integrate them into their preexisting workflow, and appeared to gain self-confidence while doing so.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"44 4","pages":"8-25"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://ieeexplore.ieee.org/iel7/6720219/9655618/09655635.pdf","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42585969","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"About This Issue","authors":"","doi":"10.1162/comj_e_00575","DOIUrl":"https://doi.org/10.1162/comj_e_00575","url":null,"abstract":"","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"44 4","pages":"1-1"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49936356","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}
Isabelle Su;Zhao Qin;Tomás Saraceno;Ally Bisshop;Roland Mühlethaler;Evan Ziporyn;Markus J. Buehler
Three-dimensional spider webs feature highly intricate fiber architectures, which can be represented via 3-D scanning and modeling. To allow novel interpretations of the key features of a 3-D Cyrtophora citricola spider web, we translate complex 3-D data from the original web model into music, using data sonification. We map the spider web data to audio parameters such as pitch, amplitude, and envelope. Paired with a visual representation, the resulting audio allows a unique and holistic immersion into the web that can describe features of the 3-D architecture (fiber distance, lengths, connectivity, and overall porosity of the structure) as a function of spatial location in the web. Using granular synthesis, we further develop a method to extract musical building blocks from the sonified web, transforming the original representation of the web data into new musical compositions. We build a new virtual, interactive musical instrument in which the physical 3-D web data are used to generate new variations in sound through exploration of different spatial locations and grain-processing parameters. The transformation of sound from grains to musical arrangements (variations of melody, rhythm, harmony, chords, etc.) is analogous to the natural bottom–up processing of proteins, resembling the design of sequence and higher-level hierarchical protein material organization from elementary chemical building blocks. The tools documented here open possibilities for creating virtual instruments based on spider webs for live performances and art installations, suggesting new possibilities for immersion into spider web data, and for exploring similarities between protein folding, on the one hand, and assembly and musical expression, on the other.
{"title":"Sonification of a 3-D Spider Web and Reconstitution for Musical Composition Using Granular Synthesis","authors":"Isabelle Su;Zhao Qin;Tomás Saraceno;Ally Bisshop;Roland Mühlethaler;Evan Ziporyn;Markus J. Buehler","doi":"10.1162/comj_a_00580","DOIUrl":"10.1162/comj_a_00580","url":null,"abstract":"Three-dimensional spider webs feature highly intricate fiber architectures, which can be represented via 3-D scanning and modeling. To allow novel interpretations of the key features of a 3-D Cyrtophora citricola spider web, we translate complex 3-D data from the original web model into music, using data sonification. We map the spider web data to audio parameters such as pitch, amplitude, and envelope. Paired with a visual representation, the resulting audio allows a unique and holistic immersion into the web that can describe features of the 3-D architecture (fiber distance, lengths, connectivity, and overall porosity of the structure) as a function of spatial location in the web. Using granular synthesis, we further develop a method to extract musical building blocks from the sonified web, transforming the original representation of the web data into new musical compositions. We build a new virtual, interactive musical instrument in which the physical 3-D web data are used to generate new variations in sound through exploration of different spatial locations and grain-processing parameters. The transformation of sound from grains to musical arrangements (variations of melody, rhythm, harmony, chords, etc.) is analogous to the natural bottom–up processing of proteins, resembling the design of sequence and higher-level hierarchical protein material organization from elementary chemical building blocks. The tools documented here open possibilities for creating virtual instruments based on spider webs for live performances and art installations, suggesting new possibilities for immersion into spider web data, and for exploring similarities between protein folding, on the one hand, and assembly and musical expression, on the other.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"44 4","pages":"43-59"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44938369","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 : 2021-11-23DOI: 10.1093/obo/9780199757824-0304
Carlos Chávez
Carlos Antonio de Padua Chávez y Ramírez (b. 1899–d. 1978) was one of Mexico’s leading composers, conductors, administrators, and musical educators during the 20th century. Born in Popotla, a suburb near Mexico City, on 13 June 1899, Chávez’s began his musical career with piano lessons, studying initially with Manuel M. Ponce. Then, at the age of sixteen, he became a music teacher during the changing social and political landscape of the Mexican Revolution (1910–1920). After successful publications of some of his short piano works, he soon received a commission from the Secretary of Public Education (SEP), José Vasconcleos, to compose a ballet. For this charge, Chávez chose an Aztec legend, labeling his work El fuego nuevo. Unfortunately, this work was never performed in Mexico, which led Chávez to seek other opportunities, first in Europe, then in New York City. Chávez’s collaborations with modernist composers and artists in New York City proved to be transformative for the composer, leading to a wave of compositions that reflected the modernist currents of the time. Upon returning to Mexico City, Chávez took on new roles, including the director of Orquesta Sinfónica Mexicana (later called the Orquesta Sinfónica de México), and then an appointment as the director of the Conservatorio Nacional, where he provided robust changes to the curriculum. In 1933, Chávez served as the chief of the Department of Fine Arts for the SEP and later collaborated with Paul Strand on his film project Redes (1935). His varying positions in Mexican institutions and his search for a Mexican musical identity initiated a wave of nationalism that can be heard in his works H.P. (1932) and Sinfonía India (1935) and his participation in the Twenty Centuries of Mexican Art Exhibit at the Museum of Modern Art in New York City. Later works reflected an approach to universalism and cosmopolitanism, such as the Concerto for Piano and Orchestra (1938). During the 1940s, Chávez became the director of the Instituto Nacional de Bellas Artes (INBA), which oversaw several national artistic projects in Mexico. After resigning from INBA, Chávez returned to composition and taught courses at the Conservatorio Nacional. Chávez’s musical career was eclectic and diverse, spanning several important areas of Mexican musical and artistic culture. He rose to become one of the most recognized musicians in Mexico during the 20th century.
卡洛斯·安东尼奥·德·帕多瓦Chávez y Ramírez (1899-d)1978年)是20世纪墨西哥最重要的作曲家、指挥家、管理者和音乐教育家之一。1899年6月13日，Chávez出生在墨西哥城附近的波波特拉郊区，他的音乐生涯始于钢琴课，最初与曼努埃尔·庞塞一起学习。然后，在16岁时，他在墨西哥革命(1910-1920)不断变化的社会和政治环境中成为一名音乐教师。在他的一些钢琴短篇作品成功出版后，他很快收到了公共教育部长(SEP)的委托，为他创作一部芭蕾舞剧。对于这个指控，Chávez选择了一个阿兹特克传说，给他的作品贴上El fuego nuevo的标签。不幸的是，这项工作从未在墨西哥进行过，这导致Chávez寻求其他机会，首先在欧洲，然后在纽约市。Chávez与纽约市现代主义作曲家和艺术家的合作对作曲家来说是革命性的，导致了一波反映当时现代主义潮流的作品。回到墨西哥城后，Chávez担任了新的角色，包括Sinfónica Mexicana Orquesta的主任(后来被称为Sinfónica de m xico Orquesta)，然后被任命为国立音乐学院的主任，在那里他对课程进行了有力的改革。1933年，Chávez担任SEP美术系主任，后来与保罗·斯特兰德合作制作电影《雷德斯》(1935)。他在墨西哥机构中不同的地位和他对墨西哥音乐身份的探索引发了一股民族主义浪潮，可以在他的作品《H.P.》(1932)和《Sinfonía India》(1935)中听到，他参加了在纽约现代艺术博物馆举办的《二十世纪墨西哥艺术展》。后来的作品反映了普世主义和世界主义的方法，如钢琴和管弦乐队协奏曲(1938年)。在20世纪40年代，Chávez成为国家艺术研究所(INBA)的主任，该研究所负责监督墨西哥的几个国家艺术项目。从INBA辞职后，Chávez回到作曲领域，并在国立音乐学院教授课程。Chávez的音乐生涯是兼收并蓄和多样化的，跨越了墨西哥音乐和艺术文化的几个重要领域。他成长为20世纪墨西哥最知名的音乐家之一。
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