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John Pierce (1910–2002) J. J. Coupling. He authored or co- to illustrate theoretical principles. In authored at least 20 books and over 1949, inspired by Claude Shannon’s John Robinson Pierce, a celebrated 300 papers; and more than 90 patents work on information theory, Mr. electrical engineer who oversaw and were issued in his name. His most Pierce and his assistant at , promoted seminal research in com- important books related to music are Elizabeth Moorer, composed three puter music, passed away in Sunny- his text The Science of Musical short hymn-like pieces using spe- Downloaded from http://direct.mit.edu/comj/article-pdf/26/4/6/1853630/014892602320991338.pdf by guest on 28 September 2021 vale, California on 2 April 2002, at Sound (Scientific American Books, cially made dice and a random- age 92. He died of complications 1983; reissued in paperback by W. H. number table. Later, he generated from pneumonia, having been in de- Freeman and Co., 1992) and the an- some musical examples using sound clining health for a number of years. thology Current Directions in Com- synthesis at Bell Labs: Stochata Historians will undoubtedly consider puter Music Research (co-edited with (1959), Variations in Timbre and At- his most significant impact on com- Mathews, MIT Press, 1991). tack (1961), Sea Sounds (1963), and puter music to be his encouragement Born 27 March 1910 in Iowa, John Eight-Tone Canon (1966). These syn- of ’s pioneering but Pierce grew up in California and re- thesized pieces were published on unofficial work on digital music ceived his PhD in electrical engineer- the synthesis at Bell Telephone Labora- ing from California Institute of Currents 13 (Wergo WE152–3, avail- tories, where Mr. Pierce was an exec- Technology (CalTech) in 1936, after able from www.cdemusic.org). utive director. However, Mr. Pierce which he worked at Bell Labs until (Decca issued two earlier recordings himself made numerous contribu- 1971. He was then a professor of en- on vinyl: ‘‘Music from Mathematics’’ tions to the field, including authoring gineering at CalTech and worked at and ‘‘The Voice of the Computer,’’ a popular book on musical the Jet Propulsion Laboratory. In the which included Mr. Pierce’s work.) (with a slant toward computer music) 1980s, Mr. Pierce and Mr. Mathews In his later years, he was particu- and conducting or co-authoring vari- were invited to join the faculty at larly interested in what he eventu- ous experiments in musical acoustics ’s Center for ally termed ‘‘the Bohlen-Pierce and psychoacoustics. Computer Research in Music and scale’’ (after learning of its earlier de- John Pierce is best known for his Acoustics (CCRMA), directed by scription by Heinz Bohlen): a divi- extramusical accomplishments. He . Mr. Pierce was sion of the frequency ratio 3:1 into coined the term ‘‘transistor’’ for the given the unusual title of Visiting 13 equal parts, modeled after tradi- device invented by his colleagues at Professor of Music, Emeritus. tional equal temperament’s division Bell Labs, and he laid the basis for Besides promoting Max Mathews’s of the 2:1 octave into 12 equal parts. the first telecommunications satel- research at Bell Labs, John Pierce in- The system includes a subset, analo- lites. His publications and leadership fluenced many others in the field. gous to the traditional diatonic scale, resulted in Echo I, a 100-foot balloon The distinguished engineer Carver and a ‘‘triad’’ that approximates satellite launched by the National Mead took up computer music re- within 7 cents the frequency ratios Aeronautics and Space Administra- search for a period after Mr. Pierce 3:5:7 (whereas the traditional major tion (NASA) in 1960. Its success led introduced him to the area. And it triad approximates 4:5:6). Mr. Pierce to the launching in 1962 of the first was John Pierce who, on learning was intrigued by the notion that mu- commercial telecommunications sat- about Mr. Chowning’s FM sound- sic built on such scales could exhibit ellite, Telstar I, built by a team John synthesis algorithm, succinctly is- consonance and dissonance analo- Pierce directed at Bell Labs. He also sued two words of advice to him that gous to those of traditional music, improved traveling-wave tubes (see ultimately affected the music indus- and that the 3:1 ratio could even be Figure 1), invented the Pierce elec- try: ‘‘Patent it!’’ Mr. Pierce also perceived as an identity relationship tron gun (a vacuum tube used in sat- helped Stanford University win a in place of the traditional octave. ellites and linear accelerators), and large grant from the Systems Devel- Owing substantially to his and Max co-developed the low-voltage reflex opment Foundation to support the Mathews’s influence, computer mu- klystron oscillator, which is used in work at CCRMA. sic composers such as , radar receivers. Although John Pierce was by no , , An avid writer, he published means a composer (having what he Georg Hajdu, and Juan Reyes have numerous technical books, in addi- referred to as ‘‘an unreciprocated employed the Bohlen-Pierce scale. tion to science-fiction stories mostly love of music’’), he experimented Mr. Pierce himself wrote one or two written under the pseudonym with creating some pieces of music short studies in the scale.

6 Computer Music Journal Figure 1. John Pierce dis- playing a traveling-wave tube.

autobiography My Career as an Engi- Marco Marinoni () and to Labi- neer, written in connection with his rinto, for string quartet and tape, by being awarded the Prize; and Joao Pedro Oliveira (). Men- in the lengthy 1992 interview by tions were made of Roderik de Man Andrew Goldstein, available at () for Magnetic fields, for www.ieee.org/organizations/history and tape, and of Mario Downloaded from http://direct.mit.edu/comj/article-pdf/26/4/6/1853630/014892602320991338.pdf by guest on 28 September 2021 _center/oral_histories/transcripts/ Mary () for , for vio- pierce.html. This obituary’s mention lin and tape. In the category of elec- of the 1949 stochastic compositions troacoustic sonic art, the prize was derives from information in Marcia awarded to Eric la Casa () for Bauman’s dissertation from the East- Vibratility Mozaik and mention was man School of Music on the music made of Frank Niehusmann (Ger- research at Bell Labs, a document many) for Untertagemusik nr.1. based partly on her unpublished in- In Trivium B, the mention for a terview with Mr. Pierce.] work for dance or theatre went to Todor Todoroff () for In Be- tween. The prize for installation work was awarded to Staccato Death Life by Ralf Nuhn (Germany) with John Pierce’s interest in pitch also Bourges 2002 mentions of Simone Simons and Pe- led him to learn that the psycho- ter Bosch (Netherlands) for Cantan acoustician Harvey Fletcher had un Huero. The multimedia prize was apparently understood the phenome- Prizewinners of the 29th Bourges in- won by Marcelle Desche`nes (Canada) non of the ‘‘missing fundamental’’ ternational with Die Dyer (video by Alain Pelle- slightly earlier than J. F. Schouten, to and sonic art competition were an- tier) with mentions being made of whom its discovery has often been nounced during the Bourges Syn- Pascal Baltazar (France) for Soma and attributed. Mr. Pierce’s musical re- the`se festival in May 2002. Elsa Justel (Argentina) for Destellos. search interests were not limited to Residence prizes were awarded to The Magisterium prize was awarded pitch, however; for example, he co- Ondrej Adamek () for to Ricardo Mandolini (Italy/Argen- authored papers on physical model- Un souffle, une ombre, un rien; Fran- tina) for his piece La noche en que ing with Julius Smith and Scott Van cesco Biasiol (Italy) for Ne pas se los peces flotaron. Duyne. pencher au dehors; Thomas Cahill- The Bourges Synthe`se festival, in Mr. Pierce is survived by his wife Jones (UK) for DeLeTE ‘e’ UNIT; Pe- its 32nd year, also celebrated the Brenda Woodard Pierce, his son John ter Gilbert (USA) for Rituals; Nikos 30th anniversary of the collaborative J. Pierce, and his daughter Elizabeth Stavropoulos (Greece) for Scene II; work ‘‘The Seasons’’ created by Jorge Anne Pierce. An afternoon of re- and Ana Gabriela Yaya Aguilar (Ar- membrance was held 3 May 2002 at gentina) for Patio. Arriagada, Franc¸oise Barrie`re, Chris- Stanford University, including a con- In Trivium A, in the category of tian Clozier, Lorenzo Ferrero, Beatriz cert of music by John Pierce, Richard electroacoustic music without in- Ferreyra, Dieter Kaufmann, Peter Boulanger, Edgard Vare`se, and Julius struments, prizes were awarded to Kolman, Alain Savouret, Luis Maria Benedict. David Berezan (Canada) for Baoding Serra, and Elzbieta Sikora in 1972. [Editor’s note: This obituary was and to Jon Christopher Nelson (USA) All composers who wished to partici- written by Douglas Keislar, who re- for Scotter. Mentions were made of pate were invited to create a short members with appreciation both REcoil by Jens Hedman () and piece based on just one of the sea- John Pierce’s intellectual enthusiasm Lascivia Pristina II by Juan-Manuel sons. Both the 1972 works and the and his advice as a member of the Marrero (Spain). In the category of new 2002 pieces were performed dur- Editor’s PhD thesis committee. Ad- electroacoustic music with instru- ing the festival. Details of the festi- ditional information about Mr. ments prizes were awarded to To val can be found on the Web at Pierce can be found in Vol. 15, No. 4 walk the night, for flute, percussion, www.imeb.asso.fr/english/ of Computer Music Journal; in his , violin, cello, and tape, by Sommaire/index2.html.

News 7 Prix Noroit 2002 Mu´sica Viva 2002 Concert Series in Features Several World The results of the third Mu´ sica Viva The finals concert of the Prix Noroit electroacoustic composition compe- Premieres international composition competi- tition were announced during the tion took place on 27 April 2002 in Mu´ sica Viva festival in Lisbon, Por- The 2001–2002 cycle of concerts Arras, France, and Natasha Barrett Downloaded from http://direct.mit.edu/comj/article-pdf/26/4/6/1853630/014892602320991338.pdf by guest on 28 September 2021 tugal, in April 2002. The competi- held at the University of Paris 8 be- (England/Norway) won both the first tion winners were Response by tween November 2001 and May prize and the people’s prize. From Panayiotis Kokoras (Greece) and 2002 presented a wide variety of new the 73 entries submitted, 6 were se- Conversation by Ian Corbett (USA). computer music for tape alone and lected for the finals: Natasha Bar- Mentions were made of Opposizione for instruments with electronics and rett’s Angels and Devils; Response, Intermedia by Debora Mameli computer processing, including sev- by Panayotis Kokoras (Greece/En- (Italy), Deepfield by Mathew Adkins eral world premieres. The season gland); Funus, by Andrea Agostini (UK), and Percurso I by Olga Pereira opened in November 2001 with mu- (Italy); Ante Litteram, by Giochino (Portugal). Formal encouragement sic by Mathew Adkins (UK), Mas- Palma (Italy); Rous, by Loufopoulos was offered to Georges Forget (Can- simo Graziato (Italy), Antonio Apostolos (Greece/England); and HG ada) for Dieu est un ingrat and to Ferreira (Portugal), Pascal Gaigne 80, by Dimitri Coppe (Belgium). Al- Jose´ Prendas (Portugal) for A apar- (France), Jose´ Manuel Lo´ pez Lo´ pez though they were not selected for ente ilusa˜ o by um som. The interna- (Spain), and Marı´a Eugenia Luc (Ar- the final competition, Jon Aveyard’s tional jury was Henri Pousseur gentina). The January concert offered Depth Perception and Mario Lor- (Belgium), James Dashow (USA), and pieces by Andrew Lewis (UK), Man- Erre enzo’s received mentions. Miguel Azguime (Portugal). uel Rocha-Iturbide (Mexico), Edson The eighth Mu´ sica Viva festival S. Zampronha (), Numo Miguel extended over eight days at the end Fernades Leal (Portugal), Carlos of March 2002 and presented a wide- Graetzer (Argentina), and Mario Mar- ranging program of events focusing celo Mary (Argentina). In March, Prix Ars Electronica 2002 on Portuguese composers and elec- music by Arturo Gervasoni (Italy/Ar- troacoustic composition presented gentina), Diego Garro (Italy), Joa˜o Pe- on a multi-speaker diffusion system. dro Oliveira (Portugal), Horacio The winners of the Prix Ars Elec- The guest composers Henri Pous- Vaggione (France/Argentina), and Ed tronica 2002 included artists from seur, James Dashow, and Claude Le- Bennett (Ireland) was presented. The the USA, Japan, France, Sweden, the doux each gave lectures and James series ended in May with a perfor- United Kingdom, Australia, Canada, Dashow also led composition mas- mance of ’s India, and . In the category of terclasses. Workshops on sound pro- Helicopter-Quartet, followed by Digital Musics, the Golden Nica was jection were given by Pedro Rebelo pieces by Cort Lippe (USA), Elsa Jus- awarded to Yasunao Tone for and Miguel Azguime and there were tel (Argentina) Takayuki Rai (Japan) Man’Yo Wounded. Awards of Dis- courses available on OpenMusic, Lars Graugaard (Denmark), and Mas- tinction were made to Alejandra Sali- Nato 0.55, and Supercollider. Nine simo Carlentini (Italy). After the fi- nas and Aeron Bergman (Lucky concerts included performances by nal concert of the Paris 8 series, a Kitchen) for Revisionland/The Tale the Remix Ensemble and L’autre- two-day colloquium was held, enti- of Pip, and to Curtis Roads for Point, Trio, solo concerts of music by Henri tled ‘‘Ways of Making Sound,’’ Line, Cloud. The awards presenta- Pousseur and James Dashow, concerts hosted by the University Paris 8 and tion is scheduled to take place dur- for piano and live electronics (Ana the International College of Philoso- ing the Ars Electronica Festival on 9 Telles) and cello and live electronics phy, and organized by Antonia Sou- September 2002 and, during the fol- (Arne Deforce), and concerts featuring lez and Horacio Vaggione. lowing 3-day artists’ forum, the prize national studios and organizations winners (Golden Nica and Awards of (EMS-, Sweden, and the Distinction) are scheduled to present Sonic Arts Network, UK). The full their works in public. Information program is available online (www about the Prix Ars Electronica is .misomusic.com/mv02proge.html) as available by visiting the competi- part of the festival’s Web pages: tion’s Web site prixars.aec.at. www.misomusic.com/mviva.html.

8 Computer Music Journal Cinema for the Ear in Denmark, SEAMUS Conference 2002 sented six concerts. The first event, Spring 2002 ‘‘Intersections in Sound’’ titled Rien pour rien (Nothing for nothing), comprised six half-hour During March and April 2002, spatial ‘‘mini-concerts’’ in the presence of The national conference of the Soci- sonic art was celebrated at the cin- the festival’s guest composers. Ste- ety for Electro-Acoustic Music in the phan Dunkelman presented Metar- ema ‘‘East of Eden’’ in Aarhus, Den- United States (SEAMUS), ‘‘Intersec- Downloaded from http://direct.mit.edu/comj/article-pdf/26/4/6/1853630/014892602320991338.pdf by guest on 28 September 2021 mark. Four evenings were devoted to cana and Rituellipses; Bernard tions in Sound,’’ was held 4–6 April Parmegiani presented Litaniques and electroacoustic music new and old 2002 at the in from around the world. In the first Le Pre´sent compose´; Jonty Harrison Iowa City, Iowa, USA. Concerts and presented Streams and Splintering; concert, Paul Lanksy presented mu- research sessions explored intersec- and Ingrid Drese presented Amaryllis sic by Katharine Norman (Anything tions between aesthetic approaches, and Horloge a` feu. A soire´e of experi- from the minibar? and You need a compositional media, historical and mental electronics presented the per- cab?), Paul Koonce (Breath and the developing technologies, and electro- formers Camp, Komsomolsk, and the Machine), Ted Coffey (Zap), Reuben acoustic composition and perfor- duo Cal Crawford and Alexandre St- de Lautour (Planetarium), Tae Hong mance. The conference chair was Onge. The third concert was hosted Park (Aboji) and Colby Leider (Hy- Lawrence Fritts. Annually at the by Ingrid Drese and Stephan Dunkel- draulis), along with his own Pat- conference, a SEAMUS Lifetime tern’s Patterns. The second concert Achievement Award is presented. man under the title Silences and was curated by Denis Smalley, who The 2002 award was made to Don Colors/Rhizomes. Ingrid Drese pre- played his Wind Chimes and pieces Buchla, who discussed his recent re- sented her pieces Horloge a` feu, Am- by Apostolis Loufopoulos (Rous), search and performed in a concert aryllis, Papillon, abıˆme, nuit, and ´ Robert Normandeau (Malina), Jens featuring early and recent works on Tout autant with Etienne Leclercq. Hedman / Paulina Sundı`n (Reflec- original instruments and new con- Stephan Dunkelman presented Me- tions), and Aliocha Van der Avoort trollers. The guest composer was tarcana, Rituellipses, Hanna’s Duet, (Anisotrope). The third concert was Denis Smalley, who presented his Dreamlike Shudder in an Airstream curated by Jakob Goetz whose selec- work Base Metals and participated in Part 1: for a crumpled woman, tion of music was taken from recent a panel discussion comparing recent Aquae´ra 1. Signallures, and Thru, CD releases. The final concert was aesthetics and approaches to electro- Above and Between. advertised as a classical concert and acoustic composition of European Concert four was given by Jonty presented a wide survey of early elec- and American composers. Twelve Harrison under the title Up Close troacoustic music and musique con- concerts of electroacoustic works for and Personal, in which he presented cre`te. Karlheinz Stockhausen’s tape, live electronics, video, instru- Concreta by Aquiles Pantalea˜o, The Gesang der Ju¨ nglinge (1956) was fol- ments, voice, and dance were pre- Tincture of Physical Things by Alis- lowed by ’s Concret sented alongside paper sessions, tair MacDonald, MachineWerks by PH (1958), ’s Etude curated presentations, and three dis- Michael Thompson, and four pieces pathe´tique (1948), and Else Marie cussion panels. A full list of pieces of his own: Surface Tension, Sorties, Pade’s Glasperlespil II (1958). After and papers presented can be found on Streams, and Splintering. Concert the interval, John Cage’s 1939 Imagi- the conference’s Web pages at five was devoted to works by young nary Landscapes was followed by seamus2002.music.uiowa.edu/. composers: Nicolas Orton, Olivier music by Gyo¨ rgy Ligeti (Glissandi, Be´langer, Paul Williams, Jean-Michel 1957), and Edgar Vare`se’s 1957–58 Robert, Jean-Se´bastien Durocher, and Poe`me e´lectronique was followed by Jean-Franc¸ois Dessureault. The final Come Out by Steve Reich, from concert, Memory and Time, was de- 1966. The Cinema for the Ear con- Festival ‘‘Rien a` voir’’ voted mostly to the music of Bernard cert series is presented by the Danish Parmegiani. His Le Pre´sent compose´, Institute of Electroacoustic Music in Capture e´phe´me`re, Litaniques, Sons/ (DIEM) in Aarhus, Denmark. More Jeu, and La me´moire des sons were information can be found on the The eleventh Rien a` voir (Nothing to preceded by E´ te´ (tire´ de 12 Haı¨ku) by DIEM Web pages at www.daimi See) festival took place in Montreal, Bernard Fort, and Annam by .aau.dk/ϳdiem/. Canada, 10–14 April 2002, and pre- Franc¸ois Donato.

News 9 Sound Installations in New York The Internet version, www. Altermedium Festival at the in April 2002 orpheuskristall.net, has been online Theremin Center, since October 2001. As a work-in- progress, it represented phases in the The Diapason Gallery, New York, The second Altermedium Interna- process of conceiving the stage ver- New York, USA, hosted a series of tional Festival took place in Mos- sion. For its visual appearance,

Saturday evening sound installations cow, Russia, in May 2002. The Downloaded from http://direct.mit.edu/comj/article-pdf/26/4/6/1853630/014892602320991338.pdf by guest on 28 September 2021 Berlin-based Web designer Bettina through April 2002. The first evening Altermedium festival, founded in Westerheide created her own multi- presented two installations: Dust 2001, is a development of the elec- media world from material that was Theories by Kim Cascone, using troacoustic music programs pro- worked out in collaboration with the Max/MSP, and Room Piece, a sound duced since 1994 by the Theremin team of artists. The enigmatic start- installation with laser lights by Dia- Center, within the Alternativa New ing page is the entrance into the pason co-founder Michael J. Schu- Music Festival in . The Fes- world of Orpheus, which is presented macher, comprising rhythmic events tival takes as its subject the art of online as a searching, immersive derived from a number series and a sound and it focuses on electroacous- game. The viewer is drawn into an fragment of sampled gong sound. tic music, with a particular interest interactive cosmos: musical frag- The rest of the month was devoted in live interactive forms of computer ments, excerpts from the libretto, to An Outgoing Message by Ron music and multimedia, especially and mystical worlds of imagery lead Kuivila which explored emotional re- the interactions of sound, image, and the user through the system. sponses to concepts of waiting and dance. The theme of Alterme- The world premiere of the stage responding to commands. Outgoing dium.02 was ‘‘Well Tempered version retained and extended its Message uses forty telephones and Noise,’’ intended as a continuation links with its online development. eight channels of synthesized sound of the traditions which had their The took the form of an inter- to explore the transition zone be- roots in the ideas of Russian and Ital- action between actors on stage and tween sounds and commands. ian Futurists of the beginning of the musicians situated elsewhere. Com- 20th century. The festival was also puter musician Georg Hajdu used the dedicated to the tenth anniversary of newly developed Quintet.net soft- the Theremin Center, founded in ware for the stage version: Orpheus’s May 1992. Stage Premiere of Online Opera and the actions of the on- Concerts were held each evening. in Munich stage percussionist were encoded, The 15 May concert presented Shere- transmitted via the Internet to other metievo Airport Rock by Jon Apple- musicians in Amsterdam, New York, The stage version of Orpheus Crys- ton (USA), Mind Feedbacks 2.0, for and . They heard the tal, an opera in two media by Man- theremin, guitar, voice, and live music and also received it in notated fred Stahnke, received its world computer processing, by Dmitry Su- form in real time, enabling them to premiere on 3 May 2002 within the bochev (Theremin Center), OHNE, respond immediately to the arriving framework of the 8th Munich Bien- for voices and electronics, by Dave sonic and visual information. Their nale. Orpheus Crystal—Opera in Phillips (), rm 74 by Reto improvisations were similarly en- Two Media combines new media and Maeder (Switzerland), and Tochnit coded and transmitted to become a innovative technologies with the tra- Aleph Empire by Daniel Loewen- visible and audible component of the ditional art form of the opera to cre- brueck (Switzerland). The 16 May live performance in Munich. The ate a new reading of musical theater. concert featured multimedia pieces. online version is still available The two-part work, which consists b-i-r-d-r-e-a-m, for Kyma system and at the Web address www. of a stage version and a version for theremin, by Yuri Spitsin (Theremin orpheuskristall. net. the Internet, views the ancient myth Center) was followed by Die grosse of Orpheus from a perspective which partitur by Sepo Gruendler and Elisa- relates to the contemporary era. The beth Schimana, with graphic design project was developed by a team of by Elisabeth Kopf (Austria), and a artists including Georg Hajdu, Si- performance-installation Alien City mone de Mello, Peter Staatsmann, by Alien productions, of Austria Manfred Stahnke, Bettina Wackerna- (Martin Breindl, Norbert Math, and gel, and Bettina Westerheide. Andrea Sodomka). On 17 May, the

10 Computer Music Journal Theremin Center was represented by day ended with a keynote address by strument modeling; signal Soma by Vera Ivanova and Correla- Cillian O’Briain and the second con- processing; sound spatialization; tions 1.0, for two performers, there- cert. Sunday offered three more pa- room acoustics; systems for interac- min sensors, and MAX/MSP based per sessions: Tools and Teaching, tive performance; recognition of mu- interactive system, by Andrei Smir- Novel Controllers, and Content sical parameters; information nov. The work of the Studio for Mapping, before the closing keynote archiving and transfer, sound and Electro-Instrumental Music (STEIM) address by , closing re- music perception modeling; real- Downloaded from http://direct.mit.edu/comj/article-pdf/26/4/6/1853630/014892602320991338.pdf by guest on 28 September 2021 in Amsterdam was then represented marks from Joe Paradiso and Marcelo time information processing; and by a solo live electronics perfor- Wanderley, and an open discussion general institutional research reports. mances by Daniel Schorno (Nether- on the organization of NIME-03. In all, 30 papers were presented over lands) and Netochka Nezvanova In all, 17 papers were presented by the 3 days of the symposium. A full (New Zealand), followed by Spring: researchers from Belgium, Canada, list of papers can be found on the Still Unfurled, for voice and live France, Ireland, Italy, Spain, and the Web by visiting the JIM 2002 pages electronics by Netochka Nezvanova USA. There were also 20 demonstra- at www.gmem.org/Jim2002.html. and an interactive video design by tions of new systems and interfaces Hans Christian Giljes (Norway). for performance, allowing partici- Throughout the festival there was pants to explore the practical as well an installation of a laser-to-sound as the theoretical aspects of the con- sculpture by Rob Mullender (UK) and ference theme. The full proceedings a retrospective of video works by of NIME-02 are available in search- Acoustical Society of America Sergei Kossenko, the ZORCH Group, able form on the conference’s Web Meeting, Summer 2002 Olga Teksheva, Jana Aksenova, Na- pages at seamonkey.mle.ie/nime/. tasha Borisova, the FUGK Group, These pages can also be accessed The Acoustical Society of America Olga Kumeger, and Yuka Lukicheva. from the general NIME address: met in Pittsburgh, Pennsylvania, The Altermedium Festival was di- www.nime.org. USA, 3–7 June 2002 and its program rected by Andrei Smirnov. included several sessions related to musical issues which all contained invited papers. The session ‘‘Natural- JIM 2002 Held in Marseille ness in Synthesized and Mu- NIME 2002 Held at MediaLab sic’’ was chaired by Sten Ternstrom in Dublin The Journe´es d’Informatique Musi- and included papers by Ingo Titze, cale (JIM) are held each year at a re- Hideki Kawahara, Roger Dannen- The International Conference on search institute in France. The ninth berg, and Xavier Serra. The session New Interfaces for Musical Expres- JIM was hosted by the Centre Na- devoted to Interactive Computer sion (NIME) took place at MediaLab tional de Cre´ation Musicale (GMEM) Music Systems was chaired by Roger Europe, Dublin, Ireland, 24–26 May in Marseille, 29–31 May 2002, with a Dannenberg and featured papers by 2002. The conference explored the special focus on sound synthesis. JIM Joel Chadabe, David Wessel, George new directions that musical inter- encourages wide-ranging discussion, Tambouratzis, Robert Rowe, Chris- faces are taking, addressing current and papers, posters, and demonstra- topher Raphael, and Masataka Goto. research and evolving issues through tions were invited on the themes of James Beauchamp chaired ‘‘Music presented papers, discussions, and formalization and representation of Recognition Systems’’ which was performances with academics, tech- musical structures; formalization spilt over two sessions and included nologists, and artists working at the and modeling of musical knowledge; heard the work of Roy Patterson, cutting edge. The conference opened languages and environments to assist Alain de Cheveigne´, Barry Jacobson, with a welcome from Rudy Berger, a composition; systems for composi- Tuomas Virtanen and Anssi Klapuri, keynote address by Tod Machover, tion and automated arrangement; Ichiro Fujinaga, Jean Laroche, Ju¨ rgen and the first concert. On the Satur- tools for music analysis; editing and Herre, Judith Brown, Mark Kahrs, day, there were four paper sessions publishing systems; optical score rec- and Neil Todd. Information about under the headings Sensate Surfaces, ognition; modeling and simulation of the Acoustical Society of America Haptic Feedback, Body Electric, and musical interpretation and perfor- and its meetings is available on the (Un)Traditional Instruments. The mance; sound synthesis systems; in- Web by visiting asa.aip.org.

News 11 DIEM Presents MIX.02 in Finland, 15–17 June 2002. The three- ridian Gallery in San Francisco, Cali- Denmark in June 2002 day conference brought together re- fornia, USA, 31 May–2 June 2002 to searchers and developers in the field celebrate the composer’s 70th birth- The Danish Institute of Electro- of virtual and synthetic audio, as day. Although the event intention- acoustic Music (DIEM) organized the well as entertainment audio technol- ally centered around performances of ogies and applications. Sessions were works for live performers in order to

second MIX festival, 13–16 June 2002 Downloaded from http://direct.mit.edu/comj/article-pdf/26/4/6/1853630/014892602320991338.pdf by guest on 28 September 2021 in Aarhus, Denmark, around a num- held on Virtual and Augmented Real- involve as many participants as pos- ber of themes, including a focus on ity, Sound Synthesis, 3-D Audio sible, ’s significant the film Forbidden Planet which was Technologies, Audio Coding Tech- contribution to electronic and com- screened each day of the festival. niques, Physical Modeling, Subjec- puter music was also celebrated, Concerts featured works for ensem- tive and Objective Evaluation, and with performances of several pieces ble and electronics, performed by Computational Auditory Scene Anal- for instrument and live electronics, The California EAR Unit (USA), Os- ysis. including Four Meditations for Or- satura (Italy), and Contemporanea In addition to the eleven paper ses- chestra, Red Shifts, What Time Is (Denmark). Guest composers in- sions and an extensive demonstra- It?, Timeless Pulse, Portrait of Tom cluded Denis Smalley, Adrian tion and poster session, there were Bickley, and The Well and the Gen- Moore, Amy Knoles, and Takayuki four invited papers. Jens Blauert, a tle; and 13 changes for Malcolm Rai. The festival also included acous- pioneer in spatial hearing research, Goldstein, for three performers on matic concerts and a sound diffusion gave a presentation on instrumental computer. workshop on DIEM’s 16-channel analysis and synthesis of auditory loudspeaker array, computer music scenes. Peter Svensson and Ulf Kris- videos from around the world, and tiansen were invited to speak on DJ’s remixing Bebe and Louis Bar- computational modeling and simula- Gottfried Michael ron’s soundtrack from Forbidden tion of acoustic spaces. Xavier Rodet Planet and the music of other pio- discussed the present state and fu- Koenig Honored neers of , including ture challenges of synthesis and pro- Else Marie Pade. Remixing brought cessing of the singing voice, and , composer the festival to a close in a six-hour Ju¨ rgen Herre presented audio coding: and electronic and computer music electronic music marathon in the an all-round entertainment technol- pioneer, has been awarded an honor- park near the Moesga˚rd Museum, ogy. The Co-Chairs of the conference ary doctorate by the University of where four classic DIEM works from were Nick Zacharov and Jyri Huo- Saarbru¨ cken, Germany, in recogni- its 15-year history were re-presented. paniemi. More information on the tion of his theoretical work in the More information is available by vis- AES meeting can be found by visit- field of modern composition theory. iting DIEM’s Web site ing the conference Web site at Gottfried Michael Koenig was born www.diem.dk. www.acoustics.hut.fi/aes22/. The in 1926 in Magdeburg, Germany. titles of all the papers presented are From 1954 to 1964 he worked in the also available at www.acoustics electronic music studio of West Ger- .hut.fi/aes22/papers/. man Radio at Cologne, assisting Audio Engineering Society Meet other composers and producing his in Helsinki own electronic compositions. In 1964 Dr Koenig moved to the Neth- The 22nd Audio Engineering Society Pauline Oliveros Celebration erlands and until 1986 he was direc- (AES) International Conference on tor of the Institute of Sonology, Virtual, Synthetic, and Entertain- ‘‘Sounding the Margins,’’ a 40-year firstly at the University of Utrecht ment Audio was held at the Helsinki retrospective of the work of Pauline and then at the Royal Conservatory University of Technology, Espoo, Oliveros, was presented by the Me- at The Hague.

12 Computer Music Journal