{"title":"Barry Schrader: Lost Analog","authors":"Ross Feller","doi":"10.1162/comj_r_00627","DOIUrl":"10.1162/comj_r_00627","url":null,"abstract":"artists, etc.).” Initially, Suchánek wanted this new group to meet weekly, exploring the territory of new media art, and creating new works for the Planetarium. Overall, he views meetings like this as a process of social interaction, and a vehicle for building new forms of cooperation, whose role is to encourage recovery from the effects of the Covid pandemic. Suchánek suggests one can think of trychtýř (funnel) as denoting a total process of working with a range of artistic approaches and their results intended for presentation at SONDA. As such, Suchánek views his own role of mediator of this project as minimal, where no specific creative outcome or pattern of development for selected participants to follow has been designed or managed. Many artists contributed either a collaborative performance or an installation to the festival. As one scans the online program, collaborations are a core element of producing SONDA, overall. At times, for those who were on location, this aspect of the festival was manifested in natural divisions of pairs and trios. Suchánek has observed this process of “pairing, routing, and connecting of people.” For him, the set with Tomoko Sauvage, Anna Stepanova, and Matuš Stenko is such an example. Suchánek observed this collaboration develop in a logical manner, stemming from each artist’s creative strengths. Starting with Anna Stepanova, she “works with glitch phenomenon in high-resolution scanned objects.” Matuš Stenko, a motion graphic designer, could bring “her images into life—nonstop ultraslow zoom through super-detailed strange and amazingly beautiful objects.” These contributions, alongside Sauvage’s performance, led to a distinctive result. An interesting contribution called ROJ (meaning cluster or swarm) is detailed in the program as an intervention of students from the Department of Art at Masaryk University. ROJ was originally Suchánek’s audiovisual installation. It was initially presented on the facade of the Faculty of Education building in 2012, consisting of 969 RGB LEDs, and mediated using the Max programming environment. For SONDA, this system was made available for the students of Jana Pavla Francová, allowing them to create their own patterns, which were then mapped onto the building. Although the main artists during SONDA constructed works that were shaped in a manner, enabling them to improvise their respective sets, it is important to note that David Granström and Tadej Droljc both managed “prepared sets with predefined structure.” Suchánek has stated the following regarding Sauvage’s set as well: “Tomoko is an experienced performer with her water sound system, she had compositional structure too but she must also deal with unexpected behavior of the complex, sensitive system of hydrophones and feedback.” In contrast, Tomáš Vtípil merged the sounds of preparing kimchi, alongside the performance of a taped dancer—the performer’s movements were affected by having been “stuck to the floor” with tape. A","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 4","pages":"74-76"},"PeriodicalIF":0.0,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43434578","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":"Communication for Real-Time Music Systems: An Overview of O2","authors":"Roger B. Dannenberg","doi":"10.1162/comj_a_00620","DOIUrl":"10.1162/comj_a_00620","url":null,"abstract":"Abstract Message passing between processes and across networks offers a powerful method to integrate and coordinate various music programs, facilitating software reuse, modularity, and parallel processing. Networking can integrate components that use different languages and hardware. In this article we describe O2, a flexible protocol for communication ranging from the thread level up to the level of global networks. Messages in O2 are similar to those of Open Sound Control, but O2 offers many additional features, including discovery, clock synchronization, a reliable message delivery option, and routing based on services rather than specific network addresses. A bridge mechanism extends the reach of O2 to web browsers, shared memory threads, and small microcontrollers. The design, implementation, and applications of O2 are described.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 4","pages":"7-19"},"PeriodicalIF":0.0,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41331588","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":"SONDA Festival 2022","authors":"Seth Rozanoff","doi":"10.1162/comj_r_00628","DOIUrl":"10.1162/comj_r_00628","url":null,"abstract":"The SONDA Festival of Electroacoustic Music and Audiovisual Performances took place for the first time in Brno, Czech Republic, on 12 November 2022. SONDA is a production linked with SVITAVA—a transmedia art lab in Brno. SVITAVA is an acronym for sound, visual, interactive, technology, art, virtual, academy. Their aim is to explore “interdisciplinary ways of cooperation, team implementation, and nonhierarchical forms of education in the post-digital age.” The SONDA festival intends “to explore the vast territory of experimental electroacoustic music, live electronics, audiovisual performances, and sound art,” programming established local and international practitioners, as well as providing “a space for presenting artistic ideas of the emerging generation of musicians,","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 4","pages":"73-74"},"PeriodicalIF":0.0,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44420490","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":"Real-Time Symbolic Transcription and Interactive Transformation Using a Hexaphonic Nylon-String Guitar","authors":"Sérgio Freire;Augusto Armondes;Rubens Silva","doi":"10.1162/comj_a_00625","DOIUrl":"10.1162/comj_a_00625","url":null,"abstract":"GuiaRT is an interactive musical setup based on a nylon-string guitar equipped with hexaphonic piezoelectric pickups. It consists of a modular set of real-time tools for the symbolic transcription, variation, and triggering of selected segments during a performance, as well as some audio processing capabilities. Its development relied on an iterative approach, with distinct phases dedicated to feature extraction, transcriptions, and creative use. This article covers the motivations for this augmented instrument and several details of its implementation, including the hardware and strategies for identifying the most typical types of sound produced on a nylon-string guitar, as well as tools for symbolic musical transformations. This acoustic–digital interface was primarily designed for interactive exploration, and it has also been effectively used in performance analyses and as a pedagogical tool.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 4","pages":"20-39"},"PeriodicalIF":0.0,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42489401","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":"A Framework for Modifying Orchestral Qualities in Computer-Aided Orchestration","authors":"Daniele Ghisi;Carmine-Emanuele Cella","doi":"10.1162/comj_a_00621","DOIUrl":"10.1162/comj_a_00621","url":null,"abstract":"This article introduces the Orchidea Orchestral Qualities framework (OOQ), an extension of the Orchidea environment for computer-aided orchestration. Traditional target-based orchestration generally reconstructs a target sound “as faithfully as possible” with a collection of samples. But more often than not, composers do not have specific targets in mind while performing orchestration tasks. A large class of orchestration practices deal with the transformation of musical material to enhance or reduce certain of its qualities (such as making a score more “brilliant,” “blurry,” “dense,” and so on). The OOQ framework implements this idea by making use of an analogy with digital signal processing. Scores and sounds are no longer used as targets, but rather as “sources” to be processed, not unlike what happens within a channel strip of a modern digital audio workstation. This article presents the rationale behind the OOQ framework, describes the behavior of its modules, and traces a path for future research on the subject.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 4","pages":"57-72"},"PeriodicalIF":0.0,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64509000","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_00624","DOIUrl":"10.1162/comj_r_00624","url":null,"abstract":"The iRig Pro Quattro I/O is a fourinput, two-output portable audio and MIDI interface that can also be used as a standalone microphone preamplifier or a line mixer (see Figure 1). It can be used to facilitate recording to a mobile device, computer, DSLR camera, or connected directly to a PA system. The input and output connections are located on the top, bottom, left, and right panels, with the top panel reserved for controls and meters. The interface has four combination XLR/1/4-in input jacks. The first two double-up as Hi-Z instrument inputs and the second two can act as line inputs. Two further line inputs are available on a 1/8-in mini stereo jack input and RCA ports. There are microphone preamplifiers included on all four XLR inputs, with phantom power that can be switched on/off for pairs of channels. There is also a mini-jack input and output for MIDI. The interface has a stereo line output on 1/8-in mini jack port (unbalanced), and left and right XLR outputs (balanced). It also has a miniDIN connector for connecting to external devices. A number of cables are supplied with purchase: lightning to mini-DIN, USB-C to mini-DIN, and USB-A to mini-DIN. A TRS male to female adapter, a 1/4-in thread mount adapter, and four AA batteries and also provided. The interface is MFi-certified for use with iOS devices without the need for adapters. The interface supports sample rates up to 96 kHz at 24-bit depth. It has a built-in omnidirectional microelectromechanical systems (MEMS) microphone that has a frequency response of 30 Hz to 20 kHz and a maximum SPL of 110 dB. The iRig","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 4","pages":"77-88"},"PeriodicalIF":0.0,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49424972","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":"Douglas Keislar","doi":"10.1162/comj_e_00626","DOIUrl":"10.1162/comj_e_00626","url":null,"abstract":"In this issue’s first article, Roger Dannenberg presents new developments in his O2 software, which he refers to as “communications middleware for interactive music systems.” The software sends messages between machines, including over the Internet, or between processes or threads on a single machine. O2 has similarities to Matt Wright and Adrian Freed’s Open Sound Control (OSC) protocol but offers important additional functionality, as the article explains. Dannenberg’s research won the Best Paper award at the 2022 International Computer Music Conference (ICMC). That award entails publication of an extended version of the paper in Computer Music Journal, and his current article actually represents a thorough rewrite. Augmented instruments constitute an important category of interfaces for performing musicians. Whereas many types of interface require new performance techniques or simply emulate the interfaces of existing instruments, an augmented instrument actually incorporates a traditional musical instrument wholesale but extends it, perhaps by adding sensors to process the instrument’s sound. Such is the case with GuiaRT, an augmented nylon-string guitar described by Freire, Armondes, and Silva in this issue. The guitar uses a hexaphonic pickup to capture each string’s sound, which undergoes continuous audio analysis.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 4","pages":"1-2"},"PeriodicalIF":0.0,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42696532","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":"Dynamic Computer-Aided Orchestration in Practice with Orchidea","authors":"Carmine-Emanuele Cella;Daniele Ghisi;Yan Maresz;Alessandro Petrolati;Alexandre Teiller;Philippe Esling","doi":"10.1162/comj_a_00629","DOIUrl":"10.1162/comj_a_00629","url":null,"abstract":"The problem of target-based computer-aided orchestration is a recurring topic in the contemporary music community. Because of its complexity, computer-aided orchestration remains a partially unsolved problem and several systems have been developed in the last twenty years. This article presents a practical overview of the recently introduced Orchidea framework for dynamic computer-aided target-based orchestration. Orchidea continues the line of tools dedicated to the subject (the so-called Orchid* family) originally developed at the Institut de Recherche et Coordination Acoustique/Musique in Paris. Unlike its predecessors, Orchidea uses a combination of optimization techniques that include stochastic matching pursuit, long short-term memory neural networks, and monoobjective evolutionary optimization, with a specifically designed cost function. Symbolic constraints can be integrated in the cost function, and temporally evolving sounds are handled by segmenting them into a set of static targets optimized jointly and then connected. Orchidea is deployed in three different ways: a standalone application, designed to streamline a simplified compositional workflow; a Max package, targeted at composers willing to connect target-based orchestration to the more general area of computer-aided composition; and a set of command-line tools, mostly intended for research purposes and batch processing. The main aim of this article is to present an overview of such software systems and show several instances of the Orchidea framework's application in recent musical productions, tracing the path for future research on the subject.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 4","pages":"40-56"},"PeriodicalIF":0.0,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43407719","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":"Douglas Keislar","doi":"10.1162/comj_e_00640","DOIUrl":"https://doi.org/10.1162/comj_e_00640","url":null,"abstract":"In this issue’s first article, Roger Dannenberg presents new developments in his O2 software, which he refers to as “communications middleware for interactive music systems.” The software sends messages between machines, including over the Internet, or between processes or threads on a single machine. O2 has similarities to Matt Wright and Adrian Freed’s Open Sound Control (OSC) protocol but offers important additional functionality, as the article explains. Dannenberg’s research won the Best Paper award at the 2022 International Computer Music Conference (ICMC). That award entails publication of an extended version of the paper in Computer Music Journal, and his current article actually represents a thorough rewrite. Augmented instruments constitute an important category of interfaces for performing musicians. Whereas many types of interface require new performance techniques or simply emulate the interfaces of existing instruments, an augmented instrument actually incorporates a traditional musical instrument wholesale but extends it, perhaps by adding sensors to process the instrument’s sound. Such is the case with GuiaRT, an augmented nylon-string guitar described by Freire, Armondes, and Silva in this issue. The guitar uses a hexaphonic pickup to capture each string’s sound, which undergoes continuous audio analysis.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1","pages":"1-1"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44551322","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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