LEONARDO MUSIC JOURNAL最新文献

{"title":"Algorithmic Spatialization Using Object-Based Audio and Indoor Positioning System","authors":"Yuan-Yi Fan","doi":"10.1162/lmj_a_01058","DOIUrl":"https://doi.org/10.1162/lmj_a_01058","url":null,"abstract":"The author presents a novel compositional framework to guide designing interplay between moving listeners and sound objects in space. Demonstrated by a case study of interactive octophonic installation, the presented framework offers new ways to articulate and analyze artistic interplay using real-world location context as a spatial composition canvas.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42865088","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sonic Commentary: Audio Series Volume 29","authors":"Manfred Werder, Casey Anderson, Travis Just, Kara Feely, Natacha Diels, John (Jack) Callahan, Carolyn Chen, Sarah Hennies","doi":"10.1162/lmj_a_01078","DOIUrl":"https://doi.org/10.1162/lmj_a_01078","url":null,"abstract":"20160 consists of 3 rolls of semitransparent paper, each sized 10 cm × 22 m, trisected from a found paper roll. Since January 2016 I have been inscribing the first roll with typewriters found on site. The first performative presentation took place in Ciudad de México on 9 February 2016. I’ve been tracing the world onto the roll—words and text found in poetry, philosophy and the world. In the act of writing, the world operates on the unveiled paper, impregnates it and so actualizes the score, and once the paper is rolled up again, its veiled transparency lets the world’s abundance manifested on the paper mingle into ever-new possible compounds. 20170 consists of approximately 400 sheets of old found paper. I’ve been inscribing the paper since April 2017. Wandering through the world and dwelling on their intrinsic realities, I insert the paper in the typewriter and find myself writing. Writing the score coincides with its actualization and allows for ever-new instances. There is no other time than that of the enunciation and every text is eternally written here and now.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138541786","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Music of the Trees: The Blued Trees Symphony and Opera as Environmental Research and Legal Activism","authors":"Aviva Rahmani","doi":"10.1162/lmj_a_01055","DOIUrl":"https://doi.org/10.1162/lmj_a_01055","url":null,"abstract":"The Blued Trees project is a transdisciplinary thought experiment, physically manifested across miles of the North American continent. It melds ideas about music, acoustics, art and environmental policy. Hundreds of GPS-located individual trees in the path of proposed natural gas pipelines were painted with a sine wave sigil. Each “treenote” contributed to an aerially perceivable composition employing the local terrain. The score is the formal skeleton for systemic changes challenging several laws. A mock trial explored how this project might open new directions in legal activism for Earth rights and contribute to an operatic libretto.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01055","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42324046","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Enacting Sonic-Cyborg Performance through the Hybrid Body in Teka-Mori and Why Should Our Bodies End at the Skin?","authors":"Aurie Y. Hsu, S. Kemper","doi":"10.1162/lmj_a_01069","DOIUrl":"https://doi.org/10.1162/lmj_a_01069","url":null,"abstract":"In “A Cyborg Manifesto,” Donna Haraway explores implications of the increasing hybridization of humans and machines. While society has long been concerned with the encroachment of technology onto human activity, Haraway challenges this concern, suggesting instead a kinship between organism and machine, a hybrid body. A sonic-cyborg performance realizes this understanding of the human-machine hybrid through movement and sound, incorporating a “kinesonic” approach to composition and an exploration of “mechatronic” expression. In this article, the authors describe their approach to enacting sonic-cyborg performance by outlining the creative framework and associated technologies involved in two collaborative pieces that explore questions of fluidity between organism and machine: Teka-Mori and Why Should Our Bodies End at the Skin?","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01069","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41740724","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Application of Musical Computing to Creating a Dynamic Reconfigurable Multilayered Chamber Orchestra Composition","authors":"Alexis Kirke","doi":"10.1162/lmj_a_01064","DOIUrl":"https://doi.org/10.1162/lmj_a_01064","url":null,"abstract":"With increasing virtualization and the recognition that today’s virtual computers are faster than hardware computers of 10 years ago, modes of computation are now limited only by the imagination. Pulsed Melodic Affective Processing (PMAP) is an unconventional computation protocol that makes affective computation more human-friendly by making it audible. Data sounds like the emotion it carries. PMAP has been demonstrated in nonmusical applications, e.g. quantum computer entanglement and stock market trading. This article presents a musical application and demonstration of PMAP: a dynamic reconfigurable score for acoustic orchestral performance, in which the orchestra acts as a PMAP half-adder to add two numbers.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01064","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41353126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sound Structures Experienced Underwater","authors":"J. Claus","doi":"10.1162/lmj_e_01077","DOIUrl":"https://doi.org/10.1162/lmj_e_01077","url":null,"abstract":"the 1960s. The path I followed to turn the idea into reality is described briefly here. Like many other artists I had rebuffed the art market; I focused instead on reworking my book Expansion of Art [1]. But by 1969, I had finished a blueprint for my Submarine Center, which was composed of three sections: an audiovisual center, a center for theory and research, and an experimental diving center. Like a cybernetic system, these three parts were closely linked. In this synopsis, I focus on the concept of the audiovisual center, which included “sound art.” Although written almost 50 years ago, my 1972 book Planet Meer. Kunst & Umweltforschung Unterwasser captures the concept precisely. It expresses an early concept of environmentally created sound art, but its view of the project is as relevant today as it was then:","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48217320","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Introduction: Leonardo Music Journal 29","authors":"E. Miranda","doi":"10.1162/lmj_a_01053","DOIUrl":"https://doi.org/10.1162/lmj_a_01053","url":null,"abstract":"thematic issues for over 20 years. This is the second time in a row that this journal has been published without an overarching theme. I confess that I was not entirely convinced that nonthematic issues would be as exciting as the thematic ones had been. But I must admit: I am not at all disappointed. The previous one worked just fine. And the present one works really well too. Our former editor-in-chief, Nicolas Collins, had an eye for spotting themes that were exciting, innovative and relevant. Nevertheless, I often wondered whether or not thematic issues were preventing potential authors from engaging with the journal more widely. Of course, both approaches have their advantage and disadvantages. The variety of high-quality papers that were submitted for this issue is impressive. The volume covers a wide range of topics, some of which I was not even aware were being developed in such depth, from writings about musique concrete in Korean, to spiritualism and activism, to virtual reality musical instruments, genetic music and 3D music notation, to cite but six. It was a real treat to have had the opportunity to read these papers ahead of their publication. I am delighted to have been invited to introduce this issue, which opens with Kat Austen’s article addressing what is perhaps one of the most significant global issues of our time: climate change. Austen created compelling music using data collected at the Arctic, and I was excited to learn how she engaged with the data and repurposed the scientific equipment for measuring them. Also politically motivated is Aviva Rahmani’s Blued Trees work. It combines concepts from music, acoustics, art and environmental policy. Hundreds of GPS-located trees in the path of proposed natural gas pipelines across the North American continent were painted with a sinewave symbol. Data from the GPS locations and interpretations of geographic features informed the composition. Virtual Reality (VR) technology has been around for a while, and a number of musicians and artists have experimented with it. The article by Anıl Çamcı and John Granzow brings something innovative: they combine VR and digital fabrication technology to design new musical instruments. And Kıvanç Tatar, Mirjana Prpa and Philippe Pasquier introduce a piece based on a VR environment of their own design, where a performer interacts with an artificial agent though breathing. They employed multiagents combined with emotion recognition systems to control the parameters of the piece. A note by David Kim-Boyle introduces an approach to notating music in three dimensions. He is interested in real-time notation of generative music and also dynamic visualizations of music. The author illustrates his ideas by means of examples and discusses the potential of his 3D notation methods for implementing immersive mixedreality music notation systems. The article by Yuan-Yi Fan explores sound spatialization techniques to harness listeners’ experience in a given spa","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01053","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47385248","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Hyperreal Instruments: Bridging VR and Digital Fabrication to Facilitate New Forms of Musical Expression","authors":"Anil Çamci, J. Granzow","doi":"10.1162/lmj_a_01056","DOIUrl":"https://doi.org/10.1162/lmj_a_01056","url":null,"abstract":"Virtual Reality (VR) and digital fabrication technologies today are ushering in a new wave of opportunities in instrument design; the marriage of these two domains, seemingly at odds with each other, can bring impossible instruments to life. In this article, the authors first sample such instruments throughout history. The authors also look at how technology has facilitated the materialization of impossible instruments from the twentieth century on. They then discuss the bridging of VR and fabrication as a new frontier in instrument design, where synthetic sounds can be used to condition an equally synthetic sensory scaffolding upon which the time-varying spectra can be interactively anchored: The result is new instruments that can defy our sense of audiovisual reality while satisfying our proprioceptive and haptic expectations. The authors report on their ongoing work as well as their projections of how emerging technologies in VR and fabrication will shape the design of new musical interfaces.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01056","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48686934","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Summerland: Exploring the Intersection of Spiritualism and Technology at the Dawn of the Electrical Age","authors":"Matthew Ostrowski","doi":"10.1162/lmj_a_01067","DOIUrl":"https://doi.org/10.1162/lmj_a_01067","url":null,"abstract":"The author describes Summerland, a generative installation for 24 computer-controlled telegraph sounders. This work uses texts from Samuel F.B. Morse and his contemporary, the Spiritualist medium Kate Fox, as source material, driving the sounders through both linguistic and spectral encoding of their words.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42965998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Respire: Virtual Reality Art with Musical Agent Guided by Respiratory Interaction","authors":"Kıvanç Tatar, Mirjana Prpa, Philippe Pasquier","doi":"10.1162/lmj_a_01057","DOIUrl":"https://doi.org/10.1162/lmj_a_01057","url":null,"abstract":"Respire is an immersive art piece that brings together three components: an immersive virtual reality (VR) environment, embodied interaction (via a breathing sensor) and a musical agent system to generate unique experiences of augmented breathing. The breathing sensor controls the user’s vertical elevation of the point of view under and over the virtual ocean. The frequency and patterns of breathing data guide the arousal of the musical agent, and the waviness of a virtual ocean in the environment. Respire proposes an intimate exploration of breathing through an intelligent mapping of breathing data to the parameters of visual and sonic environments.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01057","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47178719","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}