Computer Music Journal最新文献

{"title":"Products of Interest","authors":"","doi":"10.1162/comj_r_00585","DOIUrl":"10.1162/comj_r_00585","url":null,"abstract":"","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"44 4","pages":"82-95"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47613917","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Transcribing Lead Sheet-Like Chord Progressions of Jazz Recordings","authors":"Gabriel Durán;Patricio de la Cuadra","doi":"10.1162/comj_a_00579","DOIUrl":"10.1162/comj_a_00579","url":null,"abstract":"The vast majority of research on automatic chord transcription has been developed and tested on databases mainly focused on genres like pop and rock. Jazz is strongly based on improvisation, however, and the way harmony is interpreted is different from many other genres, causing state-of-the-art chord transcription systems to achieve poor performance. This article presents a computational system that transcribes chords from jazz recordings, addressing the specific challenges they present and considering their inherent musical aspects. Taking the raw audio and minor manually obtained inputs from the user, the system can jointly transcribe chords and detect the beat of a recording, allowing a lead sheet–like rendering as output. The analysis is implemented in two parts. First, all segments with a repeating chord progression (the chorus) are aligned based on their musical content using dynamic time warping. Second, the aligned segments are mixed and a convolutional recurrent neural network is used to simultaneously detect beats and transcribe chords. This automatic chord transcription system is trained and tested on jazz recordings only, and achieves better performance than other systems trained on larger databases that are not jazz specific. Additionally, it combines the beat-detection and chord transcription tasks, allowing the creation of a lead sheet–like representation that is easy to interpret by both researchers and musicians.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"44 4","pages":"26-42"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44657107","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Chris Cundy: Crude Attempt","authors":"Seth Rozanoff","doi":"10.1162/comj_r_00584","DOIUrl":"10.1162/comj_r_00584","url":null,"abstract":"Chris Cundy’s Crude Attempt is a collection of four tracks, constructed in his home studio in Gloucestershire, England. This work’s instrumental range consists of bass clarinet, a Korg MS20 synthesizer, Watkins Copicat tape echo, and amplified flutes—shaping a musical relationship between the bass clarinet and a sound world stemming from electronic instruments. Using this sonic palette, Cundy creates delicate and subtle timbral combinations. His studio environment, as well as the social restrictions due to Covid lockdown in England, greatly influenced Cundy’s recent thinking. As such, it is this social scenario that led to a heightened sense of place, compared with his previous work. This awareness enabled Cundy to shift focus onto sonic elements that ultimately result in carefully managing seemingly less demonstrative gestures—meaning that the issue of “liveness,” or how","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"44 4","pages":"77-78"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48762205","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Örjan Sandred: Sonic Trails","authors":"Ross Feller","doi":"10.1162/comj_r_00583","DOIUrl":"10.1162/comj_r_00583","url":null,"abstract":"or backwards. But this was not the case. Instead, track 9 presents 39 seconds of a short text read by a Siri or Alexa voice, juxtaposed over the rhythmically synchronized chamber orchestra instruments. The works on this collection range in length from 20 seconds to about 5.5 minutes. They present the listener with a challenging listening experience as we encounter sonic snapshots of culture today—disturbing and ridiculous, but a force to be reckoned with.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"44 4","pages":"80-81"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47311543","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Jack Callahan and Jeff Witscher: Stockhausen Syndrome","authors":"Ross Feller","doi":"10.1162/comj_r_00582","DOIUrl":"10.1162/comj_r_00582","url":null,"abstract":"gins in a thumb piano improvisation by Durrant. Initially, Cundy had collaborated remotely with Durrant during the United Kingdom’s first Covid lockdown in 2020. This track also demonstrates Cundy’s approach to compositional reworking, resulting in what Cundy calls “a map or an abstraction of a remote landscape in which contour lines and place names have been taken away.” In this case, the thumb piano sound class has been completely masked, rendering the source unrecognizable. “First Attempt” (track 3) begins with the breath, producing a convincing starting point. Here, Cundy produces static textures similar to the ones heard in “Circular Attempt.” But this track demonstrates a more obvious use of flute and clarinet timbres, in contrast to other highlighted breath sounds. One hears a slow counterpoint between the individual sustaining lines as well, suggesting a process of stretching material horizontally. Compositional techniques like these could be characterized as Cundy’s attempts to expose the listener to varying perspectives and positions of a given sound mass. The final track, “Undoing,” suggests a collapse of one’s sound materials, demonstrating a way Cundy reflects on the previous pieces heard in this set. I also consider this track as a way that the composer galvanizes Crude Attempt. The same compositional devices heard in the previous tracks have been used, except in this track, Cundy manages to form an emergent other voice, which slowly projects outward. Ultimately, I view this track as another example of Cundy reworking his materials, leading him to develop yet another approach to shaping his sound materials. Cundy has discussed with me his stance on the issue of reworking material. He mentioned that, overall, he is “interested in how an artistic practice absorbs a language of sounds, accumulates vocabularies from various places, and how the individual sets about reworking these disparate strands in the present.” For Cundy, an example of this way of working stems from his experience recording “Mountains” (1977) for solo bass clarinet and magnetic tape by Dutch composer Ton de Leeuw. While recording this work, Cundy realized de Leeuw’s approach to working with North Indian traditional music without reproducing imitations of this tradition. Another influence related to Cundy’s developing vocabulary in Crude Attempt is the classic text New Sounds for Woodwind (originally published in 1967), written by Bruno Bartolozzi. This book served as a way to assist woodwind instrumentalists in order to adapt their microtonal playing when performing with the developing electronic sounds of the time—allowing electronic source material to perhaps affect musical decisions of conventional acoustic instrumentalists. This concept, wherein electronics influence one’s performance, is evidenced in Cundy’s home-studio approach. In a broader sense, one could view Cundy’s compositional approach as similar to Natalie Jeremijenko’s view of design, as well. She vi","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"44 4","pages":"78-80"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46016294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sound and Video Anthology: Program Notes","authors":"Martin Supper;Erhard Grosskopf;Kirsten Reese;Miriam Akkermann;Mads Kjeldgaard","doi":"10.1162/comj_a_00586","DOIUrl":"10.1162/comj_a_00586","url":null,"abstract":"The overriding working topic for me was “Music and Space.” That may sound almost banal—music is always presented in a space. The given room can, however, have remarkably divergent effects on the artistic processes of composition. A brief overview of some of these effects is in order, even if some points may seem to be truisms. The diversity of architectural spaces has led to different reactions over the course of music history. The ensemble canzone developed during the Venetian School (circa 1530– 1620 CE) was intimately connected to the architectural and acoustic features of the Cathedral of San Marco. It is considered the trigger for the compositional inclusion of the multiple choir lofts of San Marco for polyphonic and multichoral works. In more recent times, a standard approach to designing concert halls has emerged among architects. Modern concert halls have acoustic properties that are primarily suitable for music of the 19th century. We see this, on the one hand, in the reverberation times of contemporary concert halls, but also in the arrangement of the podium and seating: The audience is seated as in a theater, facing (and listening) in one direction. In theater this arrangement is also referred to as a proscenium or a “picture frame” stage. Examination of electroacoustic music and sonic arts, and the associated media, leads to a (re-)consideration, including space and directional hearing as part and parcel of the compositional concept.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"44 4","pages":"96-101"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41684882","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Visual Programming Interface for Digital Luthiery: Implementing Circuits with Veneer","authors":"Vesa Norilo;Alejandro Olarte","doi":"10.1162/comj_a_00578","DOIUrl":"10.1162/comj_a_00578","url":null,"abstract":"This article presents a method for programming musical signal-processing circuits visually, using expressive idioms and abstractions from functional programming. Special attention is paid to the creative workflow, framing the education in a constructionist context. Our aim is to empower musicians in signal processing: The claim was tested in a university workshop for relatively inexperienced programmers. The participants were able to study and implement signal-processing algorithms from literature and integrate them into their preexisting workflow, and appeared to gain self-confidence while doing so.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"44 4","pages":"8-25"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://ieeexplore.ieee.org/iel7/6720219/9655618/09655635.pdf","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42585969","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"About This Issue","authors":"","doi":"10.1162/comj_e_00575","DOIUrl":"https://doi.org/10.1162/comj_e_00575","url":null,"abstract":"","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"44 4","pages":"1-1"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49936356","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sonification of a 3-D Spider Web and Reconstitution for Musical Composition Using Granular Synthesis","authors":"Isabelle Su;Zhao Qin;Tomás Saraceno;Ally Bisshop;Roland Mühlethaler;Evan Ziporyn;Markus J. Buehler","doi":"10.1162/comj_a_00580","DOIUrl":"10.1162/comj_a_00580","url":null,"abstract":"Three-dimensional spider webs feature highly intricate fiber architectures, which can be represented via 3-D scanning and modeling. To allow novel interpretations of the key features of a 3-D Cyrtophora citricola spider web, we translate complex 3-D data from the original web model into music, using data sonification. We map the spider web data to audio parameters such as pitch, amplitude, and envelope. Paired with a visual representation, the resulting audio allows a unique and holistic immersion into the web that can describe features of the 3-D architecture (fiber distance, lengths, connectivity, and overall porosity of the structure) as a function of spatial location in the web. Using granular synthesis, we further develop a method to extract musical building blocks from the sonified web, transforming the original representation of the web data into new musical compositions. We build a new virtual, interactive musical instrument in which the physical 3-D web data are used to generate new variations in sound through exploration of different spatial locations and grain-processing parameters. The transformation of sound from grains to musical arrangements (variations of melody, rhythm, harmony, chords, etc.) is analogous to the natural bottom–up processing of proteins, resembling the design of sequence and higher-level hierarchical protein material organization from elementary chemical building blocks. The tools documented here open possibilities for creating virtual instruments based on spider webs for live performances and art installations, suggesting new possibilities for immersion into spider web data, and for exploring similarities between protein folding, on the one hand, and assembly and musical expression, on the other.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"44 4","pages":"43-59"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44938369","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Carlos Chávez","authors":"Carlos Chávez","doi":"10.1093/obo/9780199757824-0304","DOIUrl":"https://doi.org/10.1093/obo/9780199757824-0304","url":null,"abstract":"Carlos Antonio de Padua Chávez y Ramírez (b. 1899–d. 1978) was one of Mexico’s leading composers, conductors, administrators, and musical educators during the 20th century. Born in Popotla, a suburb near Mexico City, on 13 June 1899, Chávez’s began his musical career with piano lessons, studying initially with Manuel M. Ponce. Then, at the age of sixteen, he became a music teacher during the changing social and political landscape of the Mexican Revolution (1910–1920). After successful publications of some of his short piano works, he soon received a commission from the Secretary of Public Education (SEP), José Vasconcleos, to compose a ballet. For this charge, Chávez chose an Aztec legend, labeling his work El fuego nuevo. Unfortunately, this work was never performed in Mexico, which led Chávez to seek other opportunities, first in Europe, then in New York City. Chávez’s collaborations with modernist composers and artists in New York City proved to be transformative for the composer, leading to a wave of compositions that reflected the modernist currents of the time. Upon returning to Mexico City, Chávez took on new roles, including the director of Orquesta Sinfónica Mexicana (later called the Orquesta Sinfónica de México), and then an appointment as the director of the Conservatorio Nacional, where he provided robust changes to the curriculum. In 1933, Chávez served as the chief of the Department of Fine Arts for the SEP and later collaborated with Paul Strand on his film project Redes (1935). His varying positions in Mexican institutions and his search for a Mexican musical identity initiated a wave of nationalism that can be heard in his works H.P. (1932) and Sinfonía India (1935) and his participation in the Twenty Centuries of Mexican Art Exhibit at the Museum of Modern Art in New York City. Later works reflected an approach to universalism and cosmopolitanism, such as the Concerto for Piano and Orchestra (1938). During the 1940s, Chávez became the director of the Instituto Nacional de Bellas Artes (INBA), which oversaw several national artistic projects in Mexico. After resigning from INBA, Chávez returned to composition and taught courses at the Conservatorio Nacional. Chávez’s musical career was eclectic and diverse, spanning several important areas of Mexican musical and artistic culture. He rose to become one of the most recognized musicians in Mexico during the 20th century.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"67 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75713844","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}