Computer Music Journal最新文献

{"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}

{"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}

{"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}

{"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}

{"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}

{"title":"Borrowed Gestures: The Body as an Extension of the Musical Instrument","authors":"Doga Cavdir;Ge Wang","doi":"10.1162/comj_a_00617","DOIUrl":"10.1162/comj_a_00617","url":null,"abstract":"Abstract This article presents design and performance practices for movement-based digital musical instruments. We develop the notion of borrowed gestures, which is a gesture-first approach that composes a gestural vocabulary of nonmusical body movements combined with nuanced instrumental gestures. These practices explore new affordances for physical interaction by transferring the expressive qualities and communicative aspects of body movements; these body movements and their qualities are borrowed from nonmusical domains. By merging musical and nonmusical domains through movement interaction, borrowed gestures offer shared performance spaces and cross-disciplinary practices. Our approach centers on use of the body and the design with body movement when developing digital musical instruments. The performer's body becomes an intermediate medium, physically connecting and uniting the performer and the instrument. This approach creates new ways of conceptualizing and designing movement-based musical interaction: (1) offering a design framework that transforms a broader range of expressive gestures (including nonmusical gestures) into sonic and musical interactions, and (2) creating a new dynamic between performer and instrument that reframes nonmusical gestures—such as dance movements or sign language gestures—into musical contexts. We aesthetically evaluate our design framework and performance practices based on three case studies: Bodyharp, Armtop, and Felt Sound. As part of this evaluation, we also present a set of design principles as a way of thinking about designing movement-based digital musical instruments.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 3","pages":"58-80"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43739178","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":"Leo Magnien: Clarières","authors":"Seth Rozanoff","doi":"10.1162/comj_r_00618","DOIUrl":"10.1162/comj_r_00618","url":null,"abstract":"that conceptual space of materiality, virtual place, and virtual place as apparatus, and in a spiritual space where preexisting material features become part of virtual image (credit to virtual image scholar and professor Lisa Zaher). The concert’s final piece, “Moksha Black” by King Britt featuring Roba El-Essawy, disseminates sonospatial models that can be transduced (based on registered aspects) into one’s metaphysical space (which is cognitively and psychoacoustically entangled). For example, the initial voices are farther and larger in metaphysical space than physical space; then, a square-like tone cuts through in metaphysical space; and later, voice is physically still while circling and stuttering in metaphysical space. Towards the end, voices are vertical poles (in allocentric space) from which frequency spectra fall like glitter and sparks. “Sun Ra’s gift was understanding the passage of humankind through large swaths of time. . . . The sound of those insects. That continuity. Who’s to say that that sound . . . can’t be interpreted as a meaningful sequence of something like language abiding to something like a grammar?” (Thomas Stanley, in conversation with the reviewer). In his keynote address “You Haven’t Met the Captain of the Spaceship. . . Yet,” Thomas Stanley presented extensive info about interfacing with and interpreting Sun Ra’s teachings, including myth as tech—specifically, Alter Destiny, a leap into a zone of justice that is now possible because the original myth of dominion has gradually become unstable. It involves solving the many crises (e.g., racism, intergroup conflict, “extractive capitalism and the filth that goes along with this way of life,” potential mutually assured destruction, capitalist labor, an American empire whose populace is largely “distracted, paid off, sedated by . . . the fruits of oppression that happen in other peoples’ country”) predicated on that myth, simultaneously. This seems impossible, but the resolve “to be that broad in our attempts to ameliorate the situation is the starting point” (Stanley, in conversation with the reviewer). Sun Ra’s music contains messages that can help us question our fundamental beliefs rooted in that myth. The Sounds In Focus II concert begins with “The Shaman Ascending” by Barry Truax: a constantly circling vocal not circling in metaphysical space, through which spectral processes sculpt a spider-shaped cavern around me in allocentric and metaphysical space. In “Abwesenheit,” John Young clinically and playfully makes audible the air currents and stases in the room. Lidia Zielinska’s “Backstage Pass” treats idiomatic piano moments as seeds nourished with playful curiosity and passion, presented with spatial polymatic frequency poiesis in a room-sized piano bed. To start the Sounds Cubed II concert, centripetal whispers in “śūnyatā” by Chris Coleman construct connective tissue to the Cube’s center. In “Toys” by Orestis Karamanlis, flutters of sonic pulses along the pe","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 3","pages":"83-85"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47004546","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":"Architecture for Real-Time Granular Synthesis With Per-Grain Processing: EmissionControl2","authors":"Curtis Roads;Jack Kilgore;Rodney DuPlessis","doi":"10.1162/comj_a_00613","DOIUrl":"10.1162/comj_a_00613","url":null,"abstract":"Abstract EmissionControl2 (EC2) is a precision tool that provides a versatile and expressive platform for granular synthesis education, research, performance, and studio composition. It is available as a free download on all major operating systems. In this article, we describe the theoretical underpinnings of the software and expose the design choices made in creating this instrument. We present a brief historical overview and cover the main features of EC2, with an emphasis on per-grain processing, which renders each grain as a unique particle of sound. We discuss the graphical user interface design choices, the theory of operation, and intended use cases that guided these choices. We describe the architecture of the real-time per-grain granular engine, which emits grains in synchronous or asynchronous streams. We conclude with an evaluation of the software.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 3","pages":"20-38"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46638143","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":"Fundamental Sound: A Conversation with Hubert Howe","authors":"Mark Zaki","doi":"10.1162/comj_a_00611","DOIUrl":"10.1162/comj_a_00611","url":null,"abstract":"Hubert Howe (see Figure 1) received AB, MFA, and PhD degrees from Princeton University, where he studied with J. K. (“Jim”) Randall, Godfrey Winham, and Milton Babbitt. As one of the early researchers in computer music, he was a principal contributor to the development of the Music 4B and Music 4BF programs. In 1968, he joined the faculty of Queens College of the City University of New York (CUNY), where he became a professor of music and director of the electronic music studios. He also taught computer music at the Juilliard School in Manhattan for 20 years. Howe has been a member of the American Composers Alliance since 1974 and has served as its President from 2002 to 2011. He is also a member of the New York Composers Circle and has served as Executive Director since 2013. He is currently active as Director of the New York City Electroacoustic Music Festival, which he founded in 2009. Recordings of his music have been released on the labels Capstone and Centaur, among others. This conversation took place over Zoom during March and April 2022. It begins with a look at Howe’s student years at Princeton and traces his pioneering journey through to his musical activity today. Aspects of his composition and programming work are discussed, as well as his thoughts on pitch structure and timbral approaches to composition. More information about his music and work can be found at http://www.huberthowe.org.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 3","pages":"9-19"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42794851","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":"J.H. Kwabena Nketia","authors":"","doi":"10.1093/obo/9780199757824-0294","DOIUrl":"https://doi.org/10.1093/obo/9780199757824-0294","url":null,"abstract":"Joseph Hanson Kwabena Nketia (b. 22 June 1921–d. 13 March 2019) from Ghana was the preeminent scholar of African musics, whose field research in the 1940s in varied ways formed the foundation of music scholarship in Africa and predated ethnomusicology as an academic discipline in the United States. A prolific writer, music educator, and composer, his publications on key topics in African musicology are pivotal to the transdisciplinary field of African studies. Born and raised in Asante Mampong, Nketia was tutored in two worlds of knowledge systems: his traditional musical environment generated and sustained a lifelong interest in indigenous systems, and his European-based formal education provided the space for scholarship at home and around the world. At the Presbyterian Training College at Akropong-Akwapem, he was introduced to the elements of European music by Robert Danso and Ephraim Amu. The latter’s choral and instrumental music in the African idiom made a lasting impression on Nketia as he combined oral compositional conventions in traditional music with compositional models in European classical music in his own written compositions. From 1944 to 1949, Nketia studied modern linguistics in SOAS at the University of London. His mentor was John Firth, who spearheaded the famous London school of linguistics. He also enrolled at the Trinity College of Music and Birkbeck College to study Western music, English, and history. The result of his studies in linguistics and history are the publications of classic texts cited in this bibliography. From 1952 to 1979, Nketia held positions at the University of Ghana including a research fellow in sociology, the founding director of the School of Performing Arts, and the first African director of the Institute of African Studies; and together with Mawere Opoku, he established the Ghana Dance Ensemble. This was a time that he embarked on extensive field research and documentation of music traditions all over Ghana. His students and the school provided creative outlets for his scholarly publications as he trained generations of Ghanaians. In 1958, a Rockefeller Foundation Fellowship enabled Nketia to study composition and musicology at Juilliard and Columbia with the likes of Henry Cowell, and he came out convinced that his compositions should reflect his African identity. Further, he interacted with Curt Sachs, Melville Herskovits, Alan Merriam, and Mantle Hood, which placed Nketia at the center of intellectual debates in the formative years of ethnomusicology. From 1979 to 1983, Nketia was appointed to the faculty of the Institute of Ethnomusicology at UCLA; and from 1983 to 1991, to the Mellon Chair at the University of Pittsburgh, where he trained generations of Americans and Africans. Nketia returned to Ghana and founded the International Center for African Music and Dance (1992–2010) and also served as the first chancellor of the Akrofi-Christaller Institute of Theology (2006–2016). Joseph Hanson Kwa","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"77 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85702174","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}