Studies of program music explore ways in which extra-musical material is expressed and interpreted through music. Conceptions of program music are broadly construed and vary throughout history in correlation with various aesthetic and philosophical perspectives—narrowly defined, programmatic compositions include an extra-musical program describing the musical expression, while a broader definition considers evocative titles, allusive musical material, and conventional musical significations as vehicles of extra-musical meaning. The question of aesthetic value arises in the debate surrounding the ability of music to communicate extra-musical ideas and the quality of music that claims to do so. This question is extensively explored through the polemics of the 19th-century “War of the Romantics,” pitting programmatic music against “absolute music.” Musical and theoretical writings of figures such as Berlioz, Liszt, Wagner, and Hanslick provide rich source material informing many studies on program music. The distinction between program music and absolute music is blurred through various approaches to deriving meaning from both types of music. Theories of narrativity propose methods of interpreting formal structures, tonal progressions, and thematic devices interacting in ways reminiscent of literary narrative. Semiotic approaches explore meanings that arise from conventional significations of genre, style, and “topics,” evoking cultural understandings of social position, setting, and affect. Applying interpretive strategies such as these to programmatic music allows for hermeneutic readings mapping the extra-musical program onto the musical events to explore meaningful points of intersection or contradiction. Further studies draw connections to composer biography and sociohistorical context, positioning the music in philosophical perspectives and reception. Broader cultural and political situations inform readings of underlying implications such as nationalism or social commentary. Current studies of program music explore musical narratives in nuanced contexts that parse the historical and cultural atmospheres surrounding composers, their music, and reception to propose new readings and frames of interpretation.
{"title":"Program Music","authors":"James A. Hepokoski","doi":"10.4324/9780203136348-4","DOIUrl":"https://doi.org/10.4324/9780203136348-4","url":null,"abstract":"Studies of program music explore ways in which extra-musical material is expressed and interpreted through music. Conceptions of program music are broadly construed and vary throughout history in correlation with various aesthetic and philosophical perspectives—narrowly defined, programmatic compositions include an extra-musical program describing the musical expression, while a broader definition considers evocative titles, allusive musical material, and conventional musical significations as vehicles of extra-musical meaning. The question of aesthetic value arises in the debate surrounding the ability of music to communicate extra-musical ideas and the quality of music that claims to do so. This question is extensively explored through the polemics of the 19th-century “War of the Romantics,” pitting programmatic music against “absolute music.” Musical and theoretical writings of figures such as Berlioz, Liszt, Wagner, and Hanslick provide rich source material informing many studies on program music. The distinction between program music and absolute music is blurred through various approaches to deriving meaning from both types of music. Theories of narrativity propose methods of interpreting formal structures, tonal progressions, and thematic devices interacting in ways reminiscent of literary narrative. Semiotic approaches explore meanings that arise from conventional significations of genre, style, and “topics,” evoking cultural understandings of social position, setting, and affect. Applying interpretive strategies such as these to programmatic music allows for hermeneutic readings mapping the extra-musical program onto the musical events to explore meaningful points of intersection or contradiction. Further studies draw connections to composer biography and sociohistorical context, positioning the music in philosophical perspectives and reception. Broader cultural and political situations inform readings of underlying implications such as nationalism or social commentary. Current studies of program music explore musical narratives in nuanced contexts that parse the historical and cultural atmospheres surrounding composers, their music, and reception to propose new readings and frames of interpretation.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"121 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88790686","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/9780199757824-0299
Digital technologies have impacted and reshaped almost every aspect of 21st-century life, from communication and commerce, to work and leisure, to education and politics. This bibliography represents a collection of scholarship that seeks to detail how varied and ubiquitous digital technologies have reshaped music, and how music has in turn shaped the digital world. Since the first years of the 21st century, widespread access to digital technologies, including social media, smartphones, and Web 2.0 have fundamentally transformed musical aesthetics, creation, performance, consumption, and reception on a global scale. As of October 2020, there are around 4.66 billion active internet users around the globe, nearly all of whom interact with music in one way or another. This bibliography addresses how this “digital world” is implicated in 21st-century digital regimes, and in the global flows and local assemblages of music’s production, circulation, and consumption. Like the technologies themselves, scholarship on music in the digital world is a rapidly shifting field. Readers are encouraged to understand this bibliography as a fluid network of related topics, with substantial thematic overlap between sections. Except when a subject touches on topics unique to this bibliography, the authors have omitted topics covered extensively in other Oxford Bibliographies, including “Film Music,” “Video Game Music,” “Electronic and Computer Music Instruments,” and “Music Technology.”
{"title":"Music in the Digital World","authors":"","doi":"10.1093/obo/9780199757824-0299","DOIUrl":"https://doi.org/10.1093/obo/9780199757824-0299","url":null,"abstract":"Digital technologies have impacted and reshaped almost every aspect of 21st-century life, from communication and commerce, to work and leisure, to education and politics. This bibliography represents a collection of scholarship that seeks to detail how varied and ubiquitous digital technologies have reshaped music, and how music has in turn shaped the digital world. Since the first years of the 21st century, widespread access to digital technologies, including social media, smartphones, and Web 2.0 have fundamentally transformed musical aesthetics, creation, performance, consumption, and reception on a global scale. As of October 2020, there are around 4.66 billion active internet users around the globe, nearly all of whom interact with music in one way or another. This bibliography addresses how this “digital world” is implicated in 21st-century digital regimes, and in the global flows and local assemblages of music’s production, circulation, and consumption. Like the technologies themselves, scholarship on music in the digital world is a rapidly shifting field. Readers are encouraged to understand this bibliography as a fluid network of related topics, with substantial thematic overlap between sections. Except when a subject touches on topics unique to this bibliography, the authors have omitted topics covered extensively in other Oxford Bibliographies, including “Film Music,” “Video Game Music,” “Electronic and Computer Music Instruments,” and “Music Technology.”","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"49 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85894204","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 term concerto has been applied to music works since the early 16th century, first appearing in treatises almost a century later. Reflecting the sense of two or more forces either contending with or working together with someone (both Latin), or “arrange, agree, get together” (Italian), early concertos combined voices and instruments with no other formal consequences. These characteristics remain with the genre throughout its history. Only with the emergence of the instrumental, non-texted concerto in the late 17th century did structure begin to become an issue. Two important formal trends regarding the concerto dominate the 18th century. The most pervasive overall form is that of three movements, fast-slow-fast. The form of the first movement has attracted the most attention in the literature. Concertos in the first half of the 18th century, emanating from Italy and spreading northward, start with some version of ritornello form, which is also used in arias. In the latter part of the century, first movements increasingly take on the characteristics of sonata form, found in symphonies and sonatas, resulting in first movement concerto form or concerto-sonata form. The actual nature of the merging of the two ideas in any given work remains a vibrant topic. In one sense, the influence of the two forms, ritornello and sonata, has declined since Beethoven, giving way to other compositional concerns, yet the forms can often lurk in the background of the genre. The breadth of works that fall under the descriptive term concerto can be exasperating. Concerto also embraces a number of subgenres. The earliest works are known as vocal concertos or sacred concertos (many of them were sacred pieces), but do not always bear the designation. They are performed in stile concertato, using diverse musical forces. The term remains applicable to certain textures. The concerto grosso, connected with the Baroque, is another subgenre. Yet another subgenre is the symphonie concertante, which emerged in 18th-century France. This subgenre passed in popularity, but the term concertante continues to be applied to the texture. Later developments made use of other textures, though the symphonic concerto, originating in the 19th century, might be seen as derivative of earlier approaches. These styles and textures are major factors in many other works not called concertos, such as variation sets, fantasies, and even symphonies, to name a few.
{"title":"Concerto","authors":"A. Vivaldi, L'Estro Armonico","doi":"10.4414/saez.2015.04092","DOIUrl":"https://doi.org/10.4414/saez.2015.04092","url":null,"abstract":"The term concerto has been applied to music works since the early 16th century, first appearing in treatises almost a century later. Reflecting the sense of two or more forces either contending with or working together with someone (both Latin), or “arrange, agree, get together” (Italian), early concertos combined voices and instruments with no other formal consequences. These characteristics remain with the genre throughout its history. Only with the emergence of the instrumental, non-texted concerto in the late 17th century did structure begin to become an issue. Two important formal trends regarding the concerto dominate the 18th century. The most pervasive overall form is that of three movements, fast-slow-fast. The form of the first movement has attracted the most attention in the literature. Concertos in the first half of the 18th century, emanating from Italy and spreading northward, start with some version of ritornello form, which is also used in arias. In the latter part of the century, first movements increasingly take on the characteristics of sonata form, found in symphonies and sonatas, resulting in first movement concerto form or concerto-sonata form. The actual nature of the merging of the two ideas in any given work remains a vibrant topic. In one sense, the influence of the two forms, ritornello and sonata, has declined since Beethoven, giving way to other compositional concerns, yet the forms can often lurk in the background of the genre. The breadth of works that fall under the descriptive term concerto can be exasperating. Concerto also embraces a number of subgenres. The earliest works are known as vocal concertos or sacred concertos (many of them were sacred pieces), but do not always bear the designation. They are performed in stile concertato, using diverse musical forces. The term remains applicable to certain textures. The concerto grosso, connected with the Baroque, is another subgenre. Yet another subgenre is the symphonie concertante, which emerged in 18th-century France. This subgenre passed in popularity, but the term concertante continues to be applied to the texture. Later developments made use of other textures, though the symphonic concerto, originating in the 19th century, might be seen as derivative of earlier approaches. These styles and textures are major factors in many other works not called concertos, such as variation sets, fantasies, and even symphonies, to name a few.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"54 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81794390","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/9780199757824-0301
Steve Reich (b. 1936) is an American composer who, alongside Philip Glass, Terry Riley, and La Monte Young, is considered an originator of musical minimalism. His compositions consist primarily of instrumental pieces for various ensembles, ranging from solo instruments with prerecorded tape to pieces for full orchestra. The most frequent configurations make prominent use of melodic percussion instruments, attesting to his training as a percussionist. Reich engaged periodically with disparate musical traditions throughout his early career—technological experimentalism in the 1960s, African drumming and Hebrew cantillation in the 1970s—and has since forged a compositional idiom distinguished by its attention to pattern and pulsation. Born and raised primarily in New York City, Reich studied philosophy at Cornell University and music at Juilliard before moving across the country in 1961 to study at Mills College with Luciano Berio. Moving within the Bay Area’s experimental art scenes, Reich discovered the process of phasing when working with tape loops, leading to his first acknowledged pieces: It’s Gonna Rain (1965) and Come Out (1966). After relocating to downtown New York in 1965, Reich translated this phasing process into instrumental music, resulting in works such as Piano Phase and Violin Phase (both 1967), as well as his influential manifesto, “Music as a Gradual Process.” In the early 1970s, Reich’s palette expanded to encompass new timbres and processes of pattern and repetition. The large-scale Drumming (1970–1971) and Music for 18 Musicians (1974–1976)—both conceived for his ensemble, Steve Reich and Musicians—are exemplars of his mature minimalist style and helped establish his reputation both within and outside of the classical music world. By the early 1980s, Reich’s music began a process of legitimation within academia and performance institutions: Tehillim (1981) and The Desert Music (1983), for instance, were composed for major orchestras. Both reveal a rekindled interest in voice, text, and speech which found new expression in Different Trains (1988), a string quartet which utilized speech fragments of Holocaust survivor testimonies as generative melodic and harmonic material. Reich continued to explore this technique in large-scale documentary music video theater works (The Cave [1990–93] and Three Tales [2000–03]), as well as chamber works such as City Life (1995) and WTC 9/11 (2010). By the end of the millennium, Reich was widely regarded as America’s foremost living composer; his Pulitzer Prize in 2009 for Double Sextet (2007) seemed a belated affirmation of this perspective.
{"title":"Steve Reich","authors":"","doi":"10.1093/obo/9780199757824-0301","DOIUrl":"https://doi.org/10.1093/obo/9780199757824-0301","url":null,"abstract":"Steve Reich (b. 1936) is an American composer who, alongside Philip Glass, Terry Riley, and La Monte Young, is considered an originator of musical minimalism. His compositions consist primarily of instrumental pieces for various ensembles, ranging from solo instruments with prerecorded tape to pieces for full orchestra. The most frequent configurations make prominent use of melodic percussion instruments, attesting to his training as a percussionist. Reich engaged periodically with disparate musical traditions throughout his early career—technological experimentalism in the 1960s, African drumming and Hebrew cantillation in the 1970s—and has since forged a compositional idiom distinguished by its attention to pattern and pulsation. Born and raised primarily in New York City, Reich studied philosophy at Cornell University and music at Juilliard before moving across the country in 1961 to study at Mills College with Luciano Berio. Moving within the Bay Area’s experimental art scenes, Reich discovered the process of phasing when working with tape loops, leading to his first acknowledged pieces: It’s Gonna Rain (1965) and Come Out (1966). After relocating to downtown New York in 1965, Reich translated this phasing process into instrumental music, resulting in works such as Piano Phase and Violin Phase (both 1967), as well as his influential manifesto, “Music as a Gradual Process.” In the early 1970s, Reich’s palette expanded to encompass new timbres and processes of pattern and repetition. The large-scale Drumming (1970–1971) and Music for 18 Musicians (1974–1976)—both conceived for his ensemble, Steve Reich and Musicians—are exemplars of his mature minimalist style and helped establish his reputation both within and outside of the classical music world. By the early 1980s, Reich’s music began a process of legitimation within academia and performance institutions: Tehillim (1981) and The Desert Music (1983), for instance, were composed for major orchestras. Both reveal a rekindled interest in voice, text, and speech which found new expression in Different Trains (1988), a string quartet which utilized speech fragments of Holocaust survivor testimonies as generative melodic and harmonic material. Reich continued to explore this technique in large-scale documentary music video theater works (The Cave [1990–93] and Three Tales [2000–03]), as well as chamber works such as City Life (1995) and WTC 9/11 (2010). By the end of the millennium, Reich was widely regarded as America’s foremost living composer; his Pulitzer Prize in 2009 for Double Sextet (2007) seemed a belated affirmation of this perspective.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87933449","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 : 2021-10-27DOI: 10.1093/obo/9780199757824-0300
Research on ballet music has seen steady growth in recent decades within the field of musicology and in interdisciplinary work of dance scholars and historians. This bibliography focuses on studies of the music for ballet, defined here as beginning with the origins of ballet in the courts of Catherine de Medici and Louis XIV and continuing to contemporary ballet. Ballet music scholarship has included discussions of style, historical context, collaborative processes, theoretical analyses of the music, the music-dance relationship (choreomusicology), placement in the career and style of a composer, interpretation, reception, and more. Scholars looking to embark on the study of ballet music will find many excellent models in the sources included, and should see that in this work, researchers have consulted diverse sources, both primary and secondary, from various fields of study. This requires a level of competence often beyond the fields of music or dance themselves, in the quest to account for the deeply ephemeral and multifaceted nature of music-dance happenings. Yet one of the biggest hurdles in ballet music studies is that of addressing dance on an equal footing with music (and vice versa in dance studies). This bibliography privileges works that have successfully engaged in such interdisciplinary work as well as studies that are grounded in a historical context. The following criteria guided the selection of works cited. Research was excluded that does not directly address music. This means that much essential historical-contextual study has not been included. Also excluded are treatises that do not deal directly with the music for ballet. Sources were omitted that concern dance music styles that are allied to ballet but diverge from ballet as strictly defined. For example, many fine studies of music for modern choreography are excluded, even if these works were called “ballets” (undeniably, there is much gray area here). Other exclusions are not because the research was deemed unimportant, but rather due to practicality: the work could not be properly vetted, was not widely available, overlapped too much with an included item, was either too dated or too new, or simply due to limitations of space. Indeed, ballet music scholarship is increasingly global, reflecting a global art. Admittedly, this bibliography skews to English, French, Italian, and German language sources. What follows is a selection of exemplary works that have established ballet music study historically and currently represent a thriving area of interdisciplinary scholarship. Note that the terms choreographer and composer are used throughout for clarity, even if the terms were not in use during the period in question; in addition, when a specific ballet is mentioned it will often be followed, where applicable, by a parenthetical citation consisting of “(choreographer/composer, premier year).”
{"title":"Ballet Music","authors":"","doi":"10.1093/obo/9780199757824-0300","DOIUrl":"https://doi.org/10.1093/obo/9780199757824-0300","url":null,"abstract":"Research on ballet music has seen steady growth in recent decades within the field of musicology and in interdisciplinary work of dance scholars and historians. This bibliography focuses on studies of the music for ballet, defined here as beginning with the origins of ballet in the courts of Catherine de Medici and Louis XIV and continuing to contemporary ballet. Ballet music scholarship has included discussions of style, historical context, collaborative processes, theoretical analyses of the music, the music-dance relationship (choreomusicology), placement in the career and style of a composer, interpretation, reception, and more. Scholars looking to embark on the study of ballet music will find many excellent models in the sources included, and should see that in this work, researchers have consulted diverse sources, both primary and secondary, from various fields of study. This requires a level of competence often beyond the fields of music or dance themselves, in the quest to account for the deeply ephemeral and multifaceted nature of music-dance happenings. Yet one of the biggest hurdles in ballet music studies is that of addressing dance on an equal footing with music (and vice versa in dance studies). This bibliography privileges works that have successfully engaged in such interdisciplinary work as well as studies that are grounded in a historical context. The following criteria guided the selection of works cited. Research was excluded that does not directly address music. This means that much essential historical-contextual study has not been included. Also excluded are treatises that do not deal directly with the music for ballet. Sources were omitted that concern dance music styles that are allied to ballet but diverge from ballet as strictly defined. For example, many fine studies of music for modern choreography are excluded, even if these works were called “ballets” (undeniably, there is much gray area here). Other exclusions are not because the research was deemed unimportant, but rather due to practicality: the work could not be properly vetted, was not widely available, overlapped too much with an included item, was either too dated or too new, or simply due to limitations of space. Indeed, ballet music scholarship is increasingly global, reflecting a global art. Admittedly, this bibliography skews to English, French, Italian, and German language sources. What follows is a selection of exemplary works that have established ballet music study historically and currently represent a thriving area of interdisciplinary scholarship. Note that the terms choreographer and composer are used throughout for clarity, even if the terms were not in use during the period in question; in addition, when a specific ballet is mentioned it will often be followed, where applicable, by a parenthetical citation consisting of “(choreographer/composer, premier year).”","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"81 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85535950","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 : 2021-09-22DOI: 10.1093/obo/9780199757824-0298
Omotayo Jolaosho
An iconic singer and an anti-apartheid activist, Miriam Makeba (b. 1932–d. 2008) was one of the most influential figures in the history of African popular music. Well before the advent of World Music as a marketing category, Makeba became a household name and mediated African music to diverse publics worldwide. Born in Johannesburg in 1932, Makeba absorbed the different musical genres of her surroundings, including African American jazz, gospel music, and the musical traditions of her Xhosa and Swazi family. She started singing professionally with the Cuban Brothers and later joined the Manhattan Brothers and the all-female group The Skylarks. Makeba participated in the musical King Kong, before making her major break outside of South Africa through her cameo appearance in the film Come Back, Africa, which documented the life of black people under the apartheid regime. Leaving South Africa to participate in screenings of the film, Makeba arrived in New York and began a prolific career, which resulted in several albums, television appearances, and a Grammy award for her album with her manager and mentor at that time, Harry Belafonte. Her position against the apartheid regime was manifested in her protest songs, supplemented by her political commentary, as well as in her public appearances, most notably in front of the UN Special Committee on Apartheid. Her marriage to civil rights activist Stokely Carmichael led to a decline in her career and the couple moved to Guinea, where Makeba became involved in the local music scene and in cultural production that is more attuned to the continent. Later in her life, Makeba regained her popularity in the United States by participating in the tour that followed Paul Simon’s Graceland album. After the collapse of the apartheid regime, Makeba returned to South Africa after thirty-two years in exile. During her lifetime, she paved the way for African musicians to succeed on global stages, and her legacy continues inspiring younger generations of African artists. Throughout the 20th century, Makeba was not the subject of much academic research. In recent years, however, scholars from diverse fields have begun to recognize the significance of her career and its intersection with key global processes in the 20th century, such as pan-Africanism, the Cold War, the struggle against apartheid, and African decolonization. To date, no general overviews have been written on Makeba’s work and, therefore, different sources must be consulted to obtain a full picture of her career.
{"title":"Miriam Makeba","authors":"Omotayo Jolaosho","doi":"10.1093/obo/9780199757824-0298","DOIUrl":"https://doi.org/10.1093/obo/9780199757824-0298","url":null,"abstract":"An iconic singer and an anti-apartheid activist, Miriam Makeba (b. 1932–d. 2008) was one of the most influential figures in the history of African popular music. Well before the advent of World Music as a marketing category, Makeba became a household name and mediated African music to diverse publics worldwide. Born in Johannesburg in 1932, Makeba absorbed the different musical genres of her surroundings, including African American jazz, gospel music, and the musical traditions of her Xhosa and Swazi family. She started singing professionally with the Cuban Brothers and later joined the Manhattan Brothers and the all-female group The Skylarks. Makeba participated in the musical King Kong, before making her major break outside of South Africa through her cameo appearance in the film Come Back, Africa, which documented the life of black people under the apartheid regime. Leaving South Africa to participate in screenings of the film, Makeba arrived in New York and began a prolific career, which resulted in several albums, television appearances, and a Grammy award for her album with her manager and mentor at that time, Harry Belafonte. Her position against the apartheid regime was manifested in her protest songs, supplemented by her political commentary, as well as in her public appearances, most notably in front of the UN Special Committee on Apartheid. Her marriage to civil rights activist Stokely Carmichael led to a decline in her career and the couple moved to Guinea, where Makeba became involved in the local music scene and in cultural production that is more attuned to the continent. Later in her life, Makeba regained her popularity in the United States by participating in the tour that followed Paul Simon’s Graceland album. After the collapse of the apartheid regime, Makeba returned to South Africa after thirty-two years in exile. During her lifetime, she paved the way for African musicians to succeed on global stages, and her legacy continues inspiring younger generations of African artists. Throughout the 20th century, Makeba was not the subject of much academic research. In recent years, however, scholars from diverse fields have begun to recognize the significance of her career and its intersection with key global processes in the 20th century, such as pan-Africanism, the Cold War, the struggle against apartheid, and African decolonization. To date, no general overviews have been written on Makeba’s work and, therefore, different sources must be consulted to obtain a full picture of her career.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"106 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80950162","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, Mark Zaki interviews Hubert Howe, who has been an active composer of computer music for over half a century. As a graduate student at Princeton University in the 1960s, Howe co-developed the Music 4B program, an antecedent of Csound. The interview progresses from his early years in the field through to his current directorship of the New York City Electroacoustic Music Festival. Howe details some of his compositional techniques, including the use of pitch arrays in his electronic and acoustic pieces, as well as his approach to timbre in computer music. Curtis Roads, a former editor of this journal, is well known for his long career in microsound composition, including his creation of the first computer implementation of granular sound synthesis. In this issue, he and his co-authors describe their recent software for real-time interactive granular synthesis. As is typical in granular synthesis, the program operates on sound files rather than real-time audio input; but the user has real-time control of many synthesis parameters. Unlike much granular synthesis software, the system offers per-grain processing, which means that each grain can have a unique set of values—specifically, for envelope, waveform, amplitude, frequency, spatial position, and filtering. The authors also emphasize their design of the graphical user interface. By
{"title":"About This Issue","authors":"Douglas Keislar","doi":"10.1162/comj_e_00614","DOIUrl":"10.1162/comj_e_00614","url":null,"abstract":"In this issue’s first article, Mark Zaki interviews Hubert Howe, who has been an active composer of computer music for over half a century. As a graduate student at Princeton University in the 1960s, Howe co-developed the Music 4B program, an antecedent of Csound. The interview progresses from his early years in the field through to his current directorship of the New York City Electroacoustic Music Festival. Howe details some of his compositional techniques, including the use of pitch arrays in his electronic and acoustic pieces, as well as his approach to timbre in computer music. Curtis Roads, a former editor of this journal, is well known for his long career in microsound composition, including his creation of the first computer implementation of granular sound synthesis. In this issue, he and his co-authors describe their recent software for real-time interactive granular synthesis. As is typical in granular synthesis, the program operates on sound files rather than real-time audio input; but the user has real-time control of many synthesis parameters. Unlike much granular synthesis software, the system offers per-grain processing, which means that each grain can have a unique set of values—specifically, for envelope, waveform, amplitude, frequency, spatial position, and filtering. The authors also emphasize their design of the graphical user interface. By","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 3","pages":"1-1"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47304856","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 Cube Fest 2022 spatial music festival took place in Blacksburg, Virginia, between August 19 and 21. It was sponsored by the Moss Arts Center, the Institute for Creativity, Arts, and Technology, the Center for Humanities, and Cycling ’74. The Organizing Committee included codirectors Tyechia Thompson and Eric Lyon, as well as Sara M. Johnson, Margaret Lawrence, Dylan Parker, and Tanner Upthegrove, with a Technical Committee consisting of Tanner Upthegrove, Brandon Hale, and Gustavo Araoz. The festival’s seven concerts and keynote address included artists and scholars from across the globe selected through an international call for works. Thompson’s and Lyon’s artistic vision is to invite all sounds into cutting-edge audio research facilities—such as the Cube, a fourstory black box theater with a 149.6 speaker system, motion capture sys-
{"title":"Cube Fest 2022","authors":"DJ Malinowski","doi":"10.1162/comj_r_00619","DOIUrl":"10.1162/comj_r_00619","url":null,"abstract":"The Cube Fest 2022 spatial music festival took place in Blacksburg, Virginia, between August 19 and 21. It was sponsored by the Moss Arts Center, the Institute for Creativity, Arts, and Technology, the Center for Humanities, and Cycling ’74. The Organizing Committee included codirectors Tyechia Thompson and Eric Lyon, as well as Sara M. Johnson, Margaret Lawrence, Dylan Parker, and Tanner Upthegrove, with a Technical Committee consisting of Tanner Upthegrove, Brandon Hale, and Gustavo Araoz. The festival’s seven concerts and keynote address included artists and scholars from across the globe selected through an international call for works. Thompson’s and Lyon’s artistic vision is to invite all sounds into cutting-edge audio research facilities—such as the Cube, a fourstory black box theater with a 149.6 speaker system, motion capture sys-","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 3","pages":"81-83"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44814191","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article explores the ways specific hardware and software technologies influence the design of musical instruments. We present the outcomes of a compositional game in which music technologists created simple instruments using common sensors and the Pure Data programming language. We identify a clustering of stylistic approaches and design patterns, and we discuss these findings in light of the interactions suggested by the materials provided, as well as makers' technomusical backgrounds. We propose that the design of digital instruments entails a situated negotiation between designer and tools, wherein musicians react to suggestions offered by technology based on their previous experience. Likewise, digital tools themselves may have been designed through a similar situated negotiation, producing a recursive process through which musical values are transferred from the workbench to the instrument. Instead of searching for ostensibly neutral and all-powerful technologies, we might instead embrace and even emphasize the embedded values of our tools, acknowledging their influence on the design of new musical artifacts.
{"title":"Embrace the Weirdness: Negotiating Values Inscribed into Music Technology","authors":"Giacomo Lepri;Andrew McPherson","doi":"10.1162/comj_a_00610","DOIUrl":"10.1162/comj_a_00610","url":null,"abstract":"Abstract This article explores the ways specific hardware and software technologies influence the design of musical instruments. We present the outcomes of a compositional game in which music technologists created simple instruments using common sensors and the Pure Data programming language. We identify a clustering of stylistic approaches and design patterns, and we discuss these findings in light of the interactions suggested by the materials provided, as well as makers' technomusical backgrounds. We propose that the design of digital instruments entails a situated negotiation between designer and tools, wherein musicians react to suggestions offered by technology based on their previous experience. Likewise, digital tools themselves may have been designed through a similar situated negotiation, producing a recursive process through which musical values are transferred from the workbench to the instrument. Instead of searching for ostensibly neutral and all-powerful technologies, we might instead embrace and even emphasize the embedded values of our tools, acknowledging their influence on the design of new musical artifacts.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 3","pages":"39-57"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41791544","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 Zoom R20 is a standalone multitrack recorder, mixer, and editor in one (see Figure 1). It has six XLR inputs with 48-V phantom power available on four of them. There are also two combination microphone/line inputs, one of which is a Hi-Z instrument input. The audio connections are all located on the top panel for easy access. The R20 also has a built-in USB-C audio interface for connecting the recorder to a computer or other audio device. It supports up to eight inputs and four outputs in multitrack mode. Up to 16 tracks can be recorded, eight of them simultaneously. There are two banks of eight faders and gain knobs, as well as a master fader and transport section. The recorder also has a 4.3-in
{"title":"Products of Interest","authors":"","doi":"10.1162/comj_r_00612","DOIUrl":"10.1162/comj_r_00612","url":null,"abstract":"The Zoom R20 is a standalone multitrack recorder, mixer, and editor in one (see Figure 1). It has six XLR inputs with 48-V phantom power available on four of them. There are also two combination microphone/line inputs, one of which is a Hi-Z instrument input. The audio connections are all located on the top panel for easy access. The R20 also has a built-in USB-C audio interface for connecting the recorder to a computer or other audio device. It supports up to eight inputs and four outputs in multitrack mode. Up to 16 tracks can be recorded, eight of them simultaneously. There are two banks of eight faders and gain knobs, as well as a master fader and transport section. The recorder also has a 4.3-in","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 3","pages":"86-100"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45769128","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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