Computer Music Journal最新文献

{"title":"Time-Domain Adaptive Algorithms for Low- and High-Level Audio Information Processing","authors":"Dario Sanfilippo","doi":"10.1162/comj_a_00592","DOIUrl":"10.1162/comj_a_00592","url":null,"abstract":"Abstract In this paper, we present a set of time-domain algorithms for the low- and high-level analysis of audio streams. These include spectral centroid, noisiness, and spectral spread for the low level, and dynamicity, heterogeneity, and complexity for the high level. The low-level algorithms provide a continuous measure of the features and can operate with short analysis frames. The high-level algorithms, on the other hand, are original designs informed both perceptually and by complexity theory for the analysis of musically meaningful information, both in short sounds or articulated streams with long-term nontrivial variations. These algorithms are suitable for the implementation of real-time audio analysis in diverse live performance setups that require the extraction of information from several streams at the same time. For example, the low-level algorithms can be deployed in large audio networks of adaptive agents, or in small-to-large ensembles for the analysis of various characteristics of the instruments for computer-assisted performance. Furthermore, the high-level algorithms can be implemented as part of fitness functions in music systems based on evolutionary algorithms that follow musically-informed criteria, or as analysis tools to assess the quality of some of the characteristics of a musical output. Musical applications of these algorithms can be found in a companion paper in this issue of Computer Music Journal: “Complex Adaptation in Audio Feedback Networks for the Synthesis of Music and Sounds.”","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 1","pages":"24-38"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41464225","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Mauri Edo: The Present Time","authors":"Seth Rozanoff","doi":"10.1162/comj_r_00595","DOIUrl":"10.1162/comj_r_00595","url":null,"abstract":"Mauri Edo, known as Subespai, has recently produced an album entitled The Present Time. In the Catalan language, subespai means “subspace”—a space within a space. This concept, which is found in mathematics, appropriately characterizes the composer’s approach to organizing a sonic landscape within this set of tracks, which was produced on a four-track tape machine. Subespai has deployed an improvisatory approach to layering sound in The Present Time, exploring the limitations of his resources in the studio. Subespai’s intuitive compositional process stems from the use of what he describes as found sound components: “samples from here and there, downloaded, recorded or generated (by myself).” Subespai identifies the results of this process used for building sonic layers, as his","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 1","pages":"80-81"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46351816","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Electronic Music and Generative Remixing: Improving L-Systems Aesthetics and Algorithms","authors":"Umberto Roncoroni","doi":"10.1162/comj_a_00594","DOIUrl":"10.1162/comj_a_00594","url":null,"abstract":"Abstract Postmodern art theories, overproduction, and digital technologies are testing the creativity, innovation, and social and political engagement of art. One Dadaist solution being explored by artists is the aesthetic possibilities associated with the conceptual process. For example, in the field of electronic music, producers and DJs are claiming that remixing is a genuine example of such a creative procedure; however, to justify this claim, remixing requires the bringing of the aesthetic foundations together using digital tools. The main problem is that digital audio workstations and plug-ins enclose artists in specific frameworks that blur the boundaries between true creativity and a perception of creativity. This article sought to develop remixing codes and software using Lindenmayer systems (L-systems), which are parallel rewriting systems with a type of formal grammar. As much of their potential remains unexplored, some algorithms and interface designs were developed to improve their interactive programming options. Finally, using the programmable L-systems as a genetic metaphor, some additions to musical morphing were developed as a starting point to building a generative remixing technique.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 1","pages":"55-79"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44970497","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Perceptual Recognition of Sound Trajectories in Space","authors":"Federico Schumacher;Vicente Espinoza;Francisca Mardones;Rodrigo Vergara;Alberto Aránguiz;Valentina Aguilera","doi":"10.1162/comj_a_00593","DOIUrl":"10.1162/comj_a_00593","url":null,"abstract":"Abstract Sound spatialization is a technique used in various musical genres as well as in soundtrack production for films and video games. In this context, specialized software has been developed for the design of sound trajectories we have classified as (1) basic movements, or image schemas of spatial movement; and (2) archetypal geometric figures. Our contribution is to reach an understanding of how we perceive the movement of sound in space as a result of the interaction between an agent's or listener's sensory-motor characteristics and the morphological characteristics of the stimuli and the acoustic space where such interaction occurs. An experiment was designed involving listening to auditory stimuli and associating them with the aforementioned spatial movement categories. The results suggest that in most cases, the ability to recognize moving sound is hindered when there are no visual stimuli present. Moreover, they indicate that archetypal geometric figures are rarely perceived as such and that the perception of sound movements in space can be organized into three spatial dimensions—height, depth, and width—which the literature on sound localization also confirms.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 1","pages":"39-54"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41396709","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"You Nakai: Reminded by the Instruments","authors":"Ezra J. Teboul","doi":"10.1162/comj_r_00597","DOIUrl":"10.1162/comj_r_00597","url":null,"abstract":"You Nakai’s book on David Tudor is a masterful investigation of archival and published materials left behind by the composer and his many collaborators, students, and biographers. Rather than clearing out a field of study that had until now been difficult to address, Nakai shows us his path through the dense forest of notes, ad hoc systems, and tricksterlike aphorisms that Tudor left behind as his life’s work. As a performer and composer infamous for open-ended and short remarks, instructions, and comments (contrasting with the gregariousness of John Cage), he certainly did leave plenty of materials; these form, as Nakai so convincingly demonstrates, puzzles of a scale and variety that certainly rival (if not dwarf) the puzzles of new music Tudor himself solved in his early career as a performer of the western avant garde’s most challenging pieces.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 1","pages":"85-90"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48506810","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ingrid Laubrock: Dreamt Twice, Twice Dreamt","authors":"Ross Feller","doi":"10.1162/comj_r_00596","DOIUrl":"10.1162/comj_r_00596","url":null,"abstract":"versely, his compositional thinking informs his approach to performing. Regarding the issue of performativity—rather, liveness— Subespai mentions the following: “it comes directly as a result of how I work, how I create, how I record . . . If I find something . . . I want to be able to play it live, and also make a piece out of it. This forces me to take a lot of notes, manipulate a lot, make sure I can reproduce things days later. . . . It’s all like a long-running performance.” These comments help to characterize the composer’s attitude toward his work’s close relationship to performance. Regarding Subespai’s studio approach, he transforms his fundamental sound classes over time. However, what is most compelling is his maintenance of a relatively small group of samples. This limitation, coupled with the studio tools he uses, helps to simplify a given musical process, regardless of any musical, timbral, or noise-based element used. Often, this setup results in a sense of stasis heard throughout The Present Time. Another attitude that influenced the outcome of Subespai’s studio composition is his view on the occurrence of everyday life events. Regarding this issue, Subespai is concerned with life’s extreme nuanced range and its ambiguity, which is inherent in much of our daily experience. Therefore, one could view Subespai’s studio practice as a reflection of his perception of the natural world. This concept reflects the composer’s strategy in the studio, combining organic and so-called artificial sounds, or a more environmentally based sound palette, with noise. Ultimately, the following statements made by Subespai confirm our musical observations of his work in the studio: “I just love mixing stuff that has nothing to do with each other, creating new atmospheres that didn’t exist . . . the listener will come up with their own images to go along with the tracks, their own story.” For Subespai, his studio practice allows for freedom and experimentation, the results of which are then directly integrated in his work. Overall, his process of experimentation forms the foundation of this composition. A distinctive feature in track 3, “A brief moment of stillness,” is the emergence of a bright and active color amidst a more dense layering. This process seems to have resulted in a blend of sound that is more unidentifiable compared with other sections heard previously. This type of patterning and interweaving of sound material may offer a listener multiple perspectives, perhaps provoking alternative imagery. As such, the composer has carefully selected materials in preparing this track, and, similar to what the title suggests, stillness is achieved. This track’s sound world, with its ambiguous range of color and density, progresses further, compared with the musical contrasts found in the previous tracks. In track 4, “Sandglass,” prerecorded material is looped in a distinctive manner, and pitted alongside another partially looped layer. The composer bri","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 1","pages":"81-85"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45317508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Complex Adaptation in Audio Feedback Networks for the Synthesis of Music and Sounds","authors":"Dario Sanfilippo","doi":"10.1162/comj_a_00591","DOIUrl":"10.1162/comj_a_00591","url":null,"abstract":"Abstract This article presents recent outcomes of the author's research on musical complex adaptive systems (CASs). The first part focuses on the concepts of adaptation and complexity within the framework of CASs and suggests a rigorous placing of the concepts within the musical domain. This analysis involves a distinction of the notions of context and information between the engineering field of information theory and the philosophical one of radical constructivism. I conclude this section by showing that, in this approach, information and context are mutually determining. Then, I introduce a technique related to the notion of evolvability in biology and genetic algorithms and that has significantly increased the complexity and long-term variety in music systems during autonomous evolutions. This technique distributes adaptation across higher levels and allows the system to reorganize the relationships among its agents and their structure circularly while interpreting and constructing its context. To conclude, an autonomous live performance piece from 2019–2020, “Constructing Realities (Homage to Heinz von Foerster),” which implements the theories mentioned above, is described, showing DSP processes and techniques that relate to evolvability, autopoiesis, fitness, and complexity through agent-based modeling. This article is accompanied by a companion article discussing the technical aspects of information processing algorithms, which are an essential part for the implementation of music CASs: “Time-Domain Adaptive Algorithms for Low- and High-Level Audio Information Processing.”","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 1","pages":"6-23"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42446859","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"About This Issue","authors":"","doi":"10.1162/comj_e_00588","DOIUrl":"10.1162/comj_e_00588","url":null,"abstract":"Computer Music Journal 37:2 included an article analyzing audio feedback systems in various musical compositions. One of the article’s authors, Dario Sanfilippo, went on to write a Ph.D. thesis in this area. In the current issue, he presents a pair of articles based in part on his dissertation research. The first of these considers musical feedback using concepts and vocabulary from the field of complex adaptive systems. That field concerns nonlinear dynamical systems that are complex, in that their behavior may not be predictable from the behavior of individual components within the system, and adaptive, in that the behavior changes over time in response to events. Sanfilippo also draws upon the philosophical concept of radical constructivism, presenting as a case study his own composition Constructing Realities. His companion article elucidates technical aspects of the signal-processing algorithms he implemented for this work. These algorithms analyze the short-term or long-term information in audio streams, such as those captured in a live performance that uses a feedback model. This issue’s third article concerns the psychoacoustics of spatialization—specifically, how","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 1","pages":"1-1"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45213248","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Products of Interest","authors":"","doi":"10.1162/comj_r_00598","DOIUrl":"10.1162/comj_r_00598","url":null,"abstract":"Digital Performer 11 is an upgrade to Mark of the Unicorn’s (MOTU’s) well-known digital audio workstation (DAW). Among the new features are Articulation Maps, Retrospective Record, support for MIDI Polyphonic Expression (MPE), a redesigned Nanosampler plug-in, as well as support for macOS Big Sur and native compatibility with silicon Macs. The new Articulation Maps feature is designed for use with sound libraries that have multiple articulations available for instruments. Users can now create or import articulation maps that produce expressive instrument and ensemble performances. Articulations can be mapped to a symbol in Digital Performer’s QuickScribe notation editor and each articulation can trigger multiple kinds of output. This new edition of Digital Performer can also be used with MPE MIDI controllers. It records notes as standard MIDI notes with encapsulated MPE expression data. The user can view recordings as a stream of MIDI notes with controllers superimposed on top of each note and edit them in the piano roll view. Alternatively, each controller can be viewed and edited in a separate lane using the application’s tools for editing continuous controllers. The amount of expression used can be increased or decreased using a new Scale tool. A new Retrospective Recording function for audio and MIDI has also been added. This allows users to recall an audio or MIDI sequence that they have recently played even if they didn’t record it. Nanosampler is a virtual instrument in Digital Performer that can be loaded with a mono or stereo","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 1","pages":"91-103"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43811900","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Johann Christian Bach","authors":"Paul E. Corneilson","doi":"10.1093/obo/9780199757824-0286","DOIUrl":"https://doi.org/10.1093/obo/9780199757824-0286","url":null,"abstract":"Johann Christian Bach, the youngest son of Johann Sebastian Bach (b. 1685–d. 1750), was one of the originators of the Classical style, an important composer and concert organizer in London. Born in Leipzig on 5 September 1735, J. C. Bach began his musical training under his father and mother, Anna Magdalena (b. 1701– d. 1760), and continued his studies in Berlin with his half-brother, Carl Philipp Emanuel Bach (b. 1714–d. 1788), after his father died in July 1750. In 1755, J. C. Bach went to Italy, studied with Padre Martini in Bologna, converted to the Roman Catholic faith, and eventually was appointed organist at the Milan Cathedral, where he composed much Latin church music. After receiving commissions for an opera in Turin (Artaserse in 1760) and two operas for the Teatro San Carlo in Naples (Catone in Utica and Alessandro nell’Indie in 1761–1762), J. C. Bach was called to London, where he served as music director at the King’s Theater in 1762–1763 (writing two operas that season, Orione and Zanaida), and he became Music Master to Queen Charlotte. With Carl Friedrich Abel, Bach organized a series of concerts at various locations in London. He continued to write operas and one oratorio for London, plus two operas for Mannheim (Temistocle in 1772 and Lucio Silla in 1775) and one for Paris (Amadis de Gaule in 1779). His keyboard and instrumental music was widely published, and he was admired by the young Mozart, who met him during his visit to London in 1764. J. C. Bach was the most cosmopolitan composer of his family; he maintained a long correspondence with Martini, and his portrait was painted by Thomas Gainsborough for Martini’s extensive collection.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-02-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76665503","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}