Computer Music Journal最新文献

{"title":"About This Issue","authors":"","doi":"10.1162/comj_e_00602","DOIUrl":"10.1162/comj_e_00602","url":null,"abstract":"This issue’s articles each consider a different area of audio processing. The first three deal with specific signal-processing techniques in the areas of filtering, spatialization, and synthesis, respectively. The fourth concerns data mining in audio corpora, typically employing descriptors obtained from signal processing. In the first article, Lazzarini and Timoney present their digital filter designs that are derived from analog filters. The authors contend that examining the high-level block diagrams and transfer functions of an analog model can yield benefits not found in the “virtual analog” approach of attempting to analyze and reproduce every detail of a specific analog circuit. As evidence, they offer both linear and nonlinear versions of a digital filter derived from the analog state variable filter. They then extend the nonlinear design to a filter that goes beyond the analog model by incorporating ideas stemming from waveshaping synthesis. In the area of spatialization, the article by Schlienger and Khashchanskiy demonstrates how acoustic localization can be used effectively, and at low cost, for tracking the position of a person participating in a musical performance or an art installation. Acoustic localization ascertains the distance and direction of a sound source or a sound recipient. The authors take advantage of loudspeakers already deployed in a performance, adding a measurement signal that is above the frequency range of human hearing to the audible music that the loudspeaker may be concurrently emitting. The human participant","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 2","pages":"1-2"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48270272","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 Physically Inspired Implementation of Xenakis's Stochastic Synthesis: Diffusion Dynamic Stochastic Synthesis","authors":"Emilio L. Rojas;Rodrigo F. Cádiz","doi":"10.1162/comj_a_00606","DOIUrl":"10.1162/comj_a_00606","url":null,"abstract":"Abstract This article presents an extension of Iannis Xenakis's Dynamic Stochastic Synthesis (DSS) called Diffusion Dynamic Stochastic Synthesis (DDSS). This extension solves a diffusion equation whose solutions can be used to map particle positions to amplitude values of several breakpoints in a waveform, following traditional concepts of DSS by directly shaping the waveform of a sound. One significant difference between DSS and DDSS is that the latter includes a drift in the Brownian trajectories that each breakpoint experiences through time. Diffusion Dynamic Stochastic Synthesis can also be used in other ways, such as to control the amplitude values of an oscillator bank using additive synthesis, shaping in this case the spectrum, not the waveform. This second modality goes against Xenakis's original desire to depart from classical Fourier synthesis. The results of spectral analyses of the DDSS waveform approach, implemented using the software environment Max, are discussed and compared with the results of a simplified version of DSS to which, despite the similarity in the overall form of the frequency spectrum, noticeable differences are found. In addition to the Max implementation of the basic DDSS algorithm, a MIDI-controlled synthesizer is also presented here. With DDSS we introduce a real physical process, in this case diffusion, into traditional stochastic synthesis. This sort of sonification can suggest models of sound synthesis that are more complex and grounded in physical concepts.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 2","pages":"48-66"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42656475","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_00601","DOIUrl":"https://doi.org/10.1162/comj_r_00601","url":null,"abstract":"Expressive E, creator of the Touche MIDI/CV controller and the Osmose keyboard synthesizer/controller, has teamed up with Applied Acoustics Systems (AAS), renowned for their physical modeling software instruments, to create a new software plug-in instrument called Imagine (see Figure 1). Imagine allows the user to create and play sounds based on the resonant bodies of physical real-life instruments and to modify them to create fantastical instruments and new acoustic landscapes. Expressive E has created hundreds of presets for Imagine based on feedback from musicians, composers, sound designers, and producers. Each preset is made up","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 2","pages":"91-106"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49947452","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":"Immersive Spatial Interactivity in Sonic Arts: The Acoustic Localization Positioning System","authors":"Dominik Schlienger;Victor Khashchanskiy","doi":"10.1162/comj_a_00605","DOIUrl":"10.1162/comj_a_00605","url":null,"abstract":"Abstract The Acoustic Localization Positioning System is the outcome of several years of participatory development with musicians and artists having a stake in sonic arts, collaboratively aiming for nonobtrusive tracking and indoors positioning technology that facilitates spatial interaction and immersion. Based on previous work on application scenarios for spatial reproduction of moving sound sources and the conception of the kinaesthetic interface, a tracking system for spatially interactive sonic arts is presented here. It is an open-source implementation in the form of a stand-alone application and associated Max patches. The implementation uses off-the-shelf, ubiquitous technology. Based on the findings of tests and experiments conducted in extensive creative workshops, we show how the approach addresses several technical problems and overcomes some typical obstacles to immersion in spatially interactive applications in sonic arts.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 2","pages":"24-47"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44694106","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":"Celebrating Electronics: Music by John Bischoff (Concert) and John Bischoff: Bitplicity (Album)","authors":"Ralph Lewis","doi":"10.1162/comj_r_00609","DOIUrl":"10.1162/comj_r_00609","url":null,"abstract":"","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 2","pages":"84-85"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49577153","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":"Enabling Programmatic Data Mining as Musicking: The Fluid Corpus Manipulation Toolkit","authors":"Pierre Alexandre Tremblay;Gerard Roma;Owen Green","doi":"10.1162/comj_a_00600","DOIUrl":"10.1162/comj_a_00600","url":null,"abstract":"Abstract This article presents a new software toolbox to enable programmatic mining of sound banks for musicking and musicking-driven research. The toolbox is available for three popular creative coding environments currently used by “techno-fluent” musicians. The article describes the design rationale and functionality of the toolbox and its ecosystem, then the development methodology—several versions of the toolbox have been seeded to early adopters who have, in turn, contributed to the design. Examples of these early usages are presented, and we describe some observed musical affordances of the proposed approach to the exploration and manipulation of music corpora, as well as the main roadblocks encountered. We finally reflect on a few emerging themes for the next steps in building a community around critical programmatic mining of sound banks.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 2","pages":"9-23"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44302098","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":"Linear and Nonlinear Digital Filters: From the Analog and Beyond","authors":"Victor Lazzarini;Joseph Timoney","doi":"10.1162/comj_a_00599","DOIUrl":"10.1162/comj_a_00599","url":null,"abstract":"Abstract A common approach in the development of digital filters is to begin with an existing analog filter and produce an equivalent computer program to realize it. This may involve, at the extreme, the detailed analysis of circuit behavior, or it may stem from a higher-level approach that looks at block diagrams and s-domain transfer functions. In this article, we first take the latter approach to develop a set of linear filters from the well-known state variable filter. From this we obtain a first result, which is a linear digital implementation of the Steiner design, comprising separate inputs for different frequency responses and a single output summing the responses. Turning back to the state variable design, we show that to develop a nonlinear version, an analog circuit realization can be used to identify positions in which to insert nonlinear waveshapers. This gives us our second result, a nonlinear digital state variable filter. From this analog-derived design, we then propose modifications that go beyond the original filter, developing as a final result a structure that could be classed as a hybrid of filter and digital waveshaper. As part of this process, we ask the question of whether an approach that takes inspiration from the analog world, while being decoupled from it, may be more profitable in the long run than an obsession with detailed circuit modeling.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 2","pages":"67-83"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43296574","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":"James Dashow: Archimedes—A Planetarium Opera","authors":"Bradley S. Green","doi":"10.1162/comj_r_00608","DOIUrl":"10.1162/comj_r_00608","url":null,"abstract":"performances. The other works on the album are “Circuit Combine” (2013) and “Level Shift” (2017). “Circuit Combine” recalls Bischoff’s earlier “Audio Combine,” perhaps as a reconfiguration of the earlier work’s processes. “Level Shift,” meanwhile, is the calmest of the works, leaning into similar creative tactics using drones as their musical material. The second half of the concert featured a performance of “League Trio” by Bischoff, Perkis, and current Mills Center for Contemporary Music director James Fei. As the title suggests, it is inspired by the live, networked microcomputer works and improvisatory practices of the League of Automatic Music Composers (whose members included Bischoff and Perkis as well as Rich Gold, James Horton, and David Behrman). The sonic terrain of “League Trio” was different from Bischoff’s earlier set, even after acknowledging the new personnel and equipment on stage. Interlinked through audio pathways and sharing data via OSC, the three improvisers operated with methodologies utilized by the League: personal setups, no preexisting plans, and an embrace of how each other’s actions and data would influence their own outputs. There is something to it that John Bischoff’s closing act in a concert celebrating his career is not a solo or even some kind of spotlighthogging concerto-like work. Instead, he blurred into the group, as if a part of one of his hero David Tudor’s combines, working collaboratively with Perkis and Fei. In some ways, Bischoff’s precision in the first half made adjusting to the looser structures and more generalized sound of this League-inspired improvisation harder for a moment. In reviewing some recordings of the League after the performance, it was especially clear how much they had captured its rambunctious, live musicality. This concert, especially after being rescheduled from its 2020 date because of the Covid-19 pandemic, had an extra layer of significance with the announcement that Mills College was going to close or change status in some way. In the months that have followed that night in April 2021, Northeastern University and Mills have created a plan to merge. Although much has yet to be clarified about the future of Mills College’s educational missions in the wake of its new relationship with Northeastern, Bischoff’s retirement is part of a generational chapter’s close for the college, following the retirements of longtime Center for Contemporary Music codirectors Maggi Payne and Chris Brown, and other faculty from the music department including Roscoe Mitchell and Fred Frith. Mills has experienced considerable shifts of musical trajectory before but has found new ways after the departures of previous faculty such as Darius Milhaud, Luciano Berio, Alvin Curran, Pauline Oliveros, and Robert Ashley. It has also invested in new possibilities, such as when the San Francisco Tape Music Center became part of the college, later renamed the Center for Contemporary Music. Among the current stude","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 2","pages":"85-88"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48123796","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":"Agostino Di Scipio and Dario Sanfilippo: Machine Milieu","authors":"Daniele Pozzi","doi":"10.1162/comj_r_00607","DOIUrl":"10.1162/comj_r_00607","url":null,"abstract":"Machine Milieu is an album based around a live electronics project by Agostino Di Scipio and Dario Sanfilippo that brings together two dynamical computer music systems, independently developed and designed to interact with each other through the performance environment. The two systems might be considered as extensions or variations of Di Scipio’s Audible Ecosystemics works—particularly “Background Noise Study” and “Feedback Study” (2003–2005), and of Sanfilippo’s “Audible Icarus” (2012–2018) and the Single-Fader Versatility project (2013– 2019). Their collaboration culminated in July 2021 with a self-titled release on Toxo Records, available both as a digital album and as a compact disc.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 2","pages":"88-90"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43225903","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":"Joaquin Rodrigo","authors":"W. Clark","doi":"10.4324/9780429298455","DOIUrl":"https://doi.org/10.4324/9780429298455","url":null,"abstract":"Joaquín Rodrigo y Vidre (b. 1901–d. 1999) was born in Sagunto, in the province of Valencia, Spain, on 22 November 1901, the feast day of St. Cecilia, patron saint of music. Rodrigo was a productive composer for over six decades, and his roughly two hundred works include masterpieces for orchestra, chamber ensemble, chorus, solo voice, piano, and especially guitar, an instrument on which he was not proficient but the one with which his legacy is inextricably connected. Indeed, by far and away his most famous work is the Concierto de Aranjuez for guitar and orchestra, composed in 1938–1939 and premiered in 1940. The middle movement’s main theme has provided inspiration for a whole assortment of arrangements by jazz artists such as Miles Davis and Chick Corea, and it has often been quoted in music for film and television. The unfortunate consequence of this melody’s viral popularity, however, is that it has tended to put much of his other music in the shade. Rodrigo’s achievement is remarkable because he lost his eyesight at age three as a result of diphtheria. Fortunately, the family moved to the city of Valencia in 1906, where advanced institutions for educating the deaf and blind were located. He received excellent training in piano, violin, and composition, as well as in regular academic subjects. Rodrigo became proficient in reading Braille notation for both words and music. He would eventually use a machine to type up his musical ideas in Braille, which he would then dictate to an assistant to write out in conventional notation. The music would thereafter be played at the piano so that he could hear it and make any necessary changes. In 1927 he moved to Paris to continue his studies in composition with Paul Dukas, at the École Normale de Musique. It was during his years in Paris that he met and married Victoria Kamhi, a Sephardic Jewess from Istanbul who was studying piano there. Composer and wife returned to Spain for good in 1939, settling in Madrid after the end of the Spanish Civil War and on the eve of World War II. The successful premiere of the Concierto de Aranjuez cemented his reputation as a leading figure in Spanish music. He also became a music critic for Radio Nacional, the newspaper Pueblo, and he assumed administrative responsibilities for ONCE, the national organization for the blind. Rodrigo’s international reputation began to grow steadily during the 1950s, and he would be the recipient of numerous awards and honorary degrees, at home and abroad. He passed away at the age of ninety-seven, two years after Victoria. His legacy is preserved and promoted by the Fundación Victoria y Joaquín Rodrigo in Madrid (see online), which maintains his apartment as both a museum and a research archive. It is headed by the composer’s daughter, Cecilia (b. 1941).","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"25 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78890140","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}