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1 2 array 2016/2017 Christopher Haworth, editor Jen Wang, designer Contents The International Association Letter from the President...... 5 Tom Erbe & Richard Dudas Officers President: Richard Dudas Letter from the Editor...... 7 Vice President for Membership: Michael Gurevitch Christopher Haworth Vice President for Conferences: Margaret Schedel Vice President for Asia/Oceania: Lonce Wyse Tributes to , Pierre Boulez & Jean-Claude Risset...... 9 Vice President for the Americas: Eric Honour Vice President for Europe: Stephania Serafin Meg Schedel, Arshia Cont & Chryssie Nanou Vice President for Preservation: Tae Hong Park Array Editor: Christopher Haworth ICMC 2015 Keynote Address...... 15 Music Coordinator: PerMagnus Lindborg Research Coordinator: Rebecca Fiebrink Publications Coordinator: Rob Hamilton ICMC 2015 Keynote Address...... 29 Treasurer/Secretary: Chryssie Nanou Jonty Harrison Board of Directors 2017 At-Large Directors What is at Stake in the Politics of Digital Music Archive Access Policies?...... 47 Miriam Akkermann Elizabeth Hoffman Tom Erbe Mark Ballora Concert Reviews...... 53 John Thompson NYC Electroacoustic Improvisation Summit, Eric Lyon Americas Regional Directors ICMC 2016, Lauren Hayes & Jonathan Higgins Eric Honour Charles Nichols Reviews...... 61 Asia/Oceania Regional Directors Takeyoshi Mori The Art and Technique of [Book], Lonce Wyse Laurie Radford Europe Regional Directors Stefania Serafin Arshia Cont

Non-Elected Positions ICMA Administrative Assistant: Sandra Neal

3 4 array Letter from the President Tom Erbe & Richard Dudas 2016/2017 Letter from the President It goes without saying that the experiences the ICMA – to be published in the next and opportunities arising from the ICMC issue. Farewell by Richard Dudas would not be possible without the dedicated ICMA board members, listed And, as always, being committed to our primary purpose – putting on and by Tom Erbe What a fantastic start to 2017! I am at the front of this publication, who improving the annual ICMC – we are both humbled and honored to have volunteer their time throughout the year Dear ICMA members, looking for potential hosts for future been elected to serve as President of to help the conference organizers put on conferences. If you have been considering the International Computer Music a great conference. Among these, I’d like I just wanted to write a short letter hosting an ICMC, please contact the Vice Association, after having served two terms to take a moment to thank our outgoing to announce my resignation as the President for Conferences, Meg Schedel, as at-large board member. A big thank- president, Tom Erbe, who has helped President of the ICMA, and to or myself, so we can “get the show on the you to ICMA members and board of strengthen and streamline the ICMA welcome my replacement, Dr. Richard road”! directors alike. over the past several years, and who Dudas. will continue to serve as at-large board The greater computer music community’s My involvement with the ICMA has member. Furthermore, since the previous Richard has been a member of the steadfast creativity and its adeptness in been longstanding: I first attended issue of Array, there have been several ICMA for 20 years, and has served on sharing ideas for the common good are the International Computer Music new faces elected to the ICMA board the ICMA board from 2008 to 2015. hopefully also reflected in the ICMA. The Conference two decades ago – the whom I’d to welcome: Miriam Akkerman, He is knowledgeable and has played a association and its eminent conference 1997 conference in Thessaloniki. The John Thompson, and Mark Ballora were part in all of the ICMA activities, and have provided marvelous opportunities experience was eye-opening both recently elected at-large board members, has shown steadfast dedication to our for developing and established computer technically and musically, and I was able and Charles Nichols and Takeyoshi Mori organization. After some discussion, the musicians alike to be awestruck and to finally meet many of the people who as Regional Directors for the Americas ICMA board voted unanimously (10 - enlightened, as well as to meet, exchange I had previously only known by either and Asia/Oceania, respectively. I am 0) to approve Richard’s appointment as thoughts, and remain connected over name or reputation. That year, I also looking forward to collaborating with president. large distances. It will be a privilege, as wrote my first concert review for this very them, alongside the seasoned board president, to be able to help the ICMA publication – the ICMA’s journal Array. members, to continue to improve and Myself, I will continue as an at-large continue to provide current members Since that first conference experience, I’ve nurture the ICMA and its community. board member for one more year, and with the kinds of memorable experiences been regularly involved with the ICMC will be assisting Richard in any way and exchanges it has provided me, as a in a multitude of capacities, attending It is with sadness that I mention the loss needed. member, over the past decades. the conference as both author of papers of some pioneers and influential members and composer of music, volunteering my of our electronic and computer music My very best, Looking forward to meeting many of you time behind the scenes as a reviewer for community: Pauline Oliveros, Jean- at the 2017 ICMC in Shanghai! the paper and music selection committees, Claude Risset and Pierre Boulez. I hope Tom Erbe and taking on the role of Paper Chair for the short memorials to them published UC San Diego Computer Music Richard Dudas the organizing committee of the 2015 in this edition of Array will serve as President, ICMA ICMC at the University of North Texas. solicitations for more extended memories and anecdotes from you – the members of

55 6 array Letter from the Editor 2016/2017 Christopher Haworth 2016/2017 Letter from the Editor musical contributions of Pauline Oliveros by Christopher Haworth by Meg Schedel; Pierre Boulez by Arshia Cont; and Jean-Claude Risset by Chryssie Welcome to the 2016-17 issue of Nanou. Array, the Journal of the International Computer Music Association. The focus The next issue of Array will be devoted of this issue is two keynote speeches to showcasing the work of women and from ICMC 2015 that give wildly other minority groups in computer music. different perspectives on the theory and Guest edited by Shelly Knotts and Patricia practice of electroacoustic and computer Alessandrini, and drawn from a Women music: Miller Puckette’s ‘The Sampling in Sound / Women on Sound event held Theorem and its Discontents’, and Jonty earlier in the year, it is hoped the issue will Harrison’s ‘State of the Art? A personal build on the work being done to diversify reflection on the intersections of music, the field and enhance the visibility of non- sound and the creative imagination’. I hegemonic groups. am also pleased to publish a featured article by Elizabeth Hoffman, ‘What is I am always happy to receive suggestions at Stake in the Politics of Digital Music for featured articles, requests to Archive Access Policies? A Brief Look at review books, CDs, or concerts for Some Evolving Issues’. This fascinating Array, letters in response to articles, article takes a comparative look at some or related things. Please send these to emerging paradigms in digital music [email protected] archiving, highlighting key challenges facing composers and musicologists as the materials of music migrate online. In the reviews section, Laurie Radford takes a long and informed look at Peter Elsea’s The Art and Technique of Electroacoustic Music, while Lauren Hayes and Jonathan Higgins review concerts from ICMC 2016. Finally, following the sad news that three computer music pioneers died in 2016, I am pleased to be able to bring you thoughtful reflections on the lives and

77 8 array Tributes Meg Schedel et al. 2016/2017 almost become a rite of passage for complex sounds from simple rules. the decisions of the players. A ripple women in experimental music, and a safe They were never going to hear her belly could be short (one sender with two or Pauline Oliveros, 1932-2016 space for all to listen, to sound, to move, laugh, or see her grounded and uplifting three receivers) or longer depending and to dream. I first attended the retreat performances – this is what made me on the decisions and reaction times of under the encouragement of my own sad. I can only hope that her spirit will the players. An effective reaction time composition teacher, Mara Helmuth, continue to inspire, as it already is doing means that the player is aware of their who had always found them so inspiring. with the spontaneously organized tributes own response slightly after the reaction I met my long-time collaborator (and that recognise her tremendous impact. has already happened (milliseconds). bridesmaid) Sarah O’Halloran at one The variations introduce long tones retreat, and formed other new and deep I first met Pauline at a workshop in a which develop into chords and textures friendships in those open and daring summer program at the Kitchen. Of inside of the ripples [1]. weeks we spent together. course I knew of her, and her music, but I wasn’t as familiar with her sonic Our group stayed within the confines by Margaret Schedel It took me a while to figure out why I meditations. We performed her piece, of the instructions for a while, but then was so gutted by the news. For a while Interdependence. In it, every performer self- started to experiment with glissandi, short When I heard the news that Pauline I assumed it was because it was so selects a role as ‘sender’ or ‘receiver’, and phrases, and percussive effects. Pauline Oliveros had died on Thanksgiving Day unexpected. Pauline’s health was not in performers can change roles at will. In let the piece come to a natural close, and I was completely gutted. I mourned of decline, and her own mother had lived the first section, senders play one short then told us that she was very aware we course for her partner Ione, her long- well into her nineties; furthermore, I note at any time. The note can have any had gone beyond her instructions. Indeed, time collaborator Heloise Gold, and all had seen her fairly recently and she was pitch and dynamic, but must be played she declared that only the first part of of the members of the Deep Listening as vibrant as ever. After a meditation with ‘intention’. Receivers then play a the improvisation was her piece – she Community who have become my I finally realized why I was so sad. For short note as fast as possible in response could be very strict! She then took out extended family. Pauline was an incredible the first time, I had students of my own – also with any pitch and dynamic. In the her accordion and proceeded to replay performer and composer, but she went who I wanted to encourage to attend a second section this changes: receivers are our entire performance from memory, beyond the boundaries of a traditional retreat – three people I thought would allowed to sing long notes in response, winking as she transitioned into our free musician and created a listening practice benefit from her wisdom and abilities rather than short ones; and in the third improv. She captured the nuance of that has formed multi-generational as a composer, performer and educator. section, it is the senders that can sing long our group sound and echoed it back to friendships among computer musicians, I was looking forward to introducing notes; receivers are instructed to react as us, shimmering with precision. Pauline acoustic composers, and musical them to her; to seeing her simultaneously quickly as possible to the end of the note. had an astonishing ear for music, and improvisers (Pauline once famously listening to them and challenging them; to The score reads: delighted in trying new things. This was called for ‘improvisatories’ in addition to seeing the awe in their faces turn quickly evidenced by her constantly evolving conservatories). Even though many of us to companionability, as Pauline made The correct player reactions can create compositions and performance practice. haven’t met in person, we form a vibrating them comfortable. I was sad because I an atmosphere of electricity that runs bond across the planet that never ceases to would never be able to participate in a through the ensemble in a rippling Pauline was not just a composer and amaze me. Deep Listening Retreats have sonic meditation with them, led by her effect. These ripples of pitches will performer – she was also a community unwavering energy as she improvised be in random patterns depending on builder. As I write this, immigrants,

99 10 array Tributes Meg Schedel et al. 2016/2017 refugees, and temporary and permanent music, as well as the computer music Philharmonic and BBC Symphony technologists and researchers of our residents are being detained at the United communities. Whereas his global impact Orchestras, he was called by the then community who continue to channel his States borders. All three people I wanted as a dominant figure (both composer and French president Georges Pompidou to force, intellect and generosity. to meet Pauline have been personally conductor) of the classical music world is create a world-class orchestra in Paris. and directly impacted by the actions of widely recognized; his legacy, impact and Boulez responded with an alternative Jean-Claude Risset, 1938-2016 the incoming Trump administration. longtime involvement in the computer proposal to create a center where Learning from my lessons with Pauline music community deserves further scientists, musicians and artists could at the retreats, I listened deeply to their attention. work together; he took the Bauhaus as concerns and held space for them. We his model. This led to the creation of are now taking action. Even though they Still in his 20s, and after an early and IRCAM in 1977, which in its early days never got the chance to meet Pauline, in controversial career in avant-garde brought figures who would go on to my mind they have become part of the instrumental music, Boulez entered the become key architects of electroacoustic Deep Listening Community, and I know Musique Concrète group led by Pierre and computer music – Jean-Claude others will continue to widen the circle as Schaeffer in the late 1940s. In addition to Risset, , Luciano well. composing a few Concrète pieces in this Berio, Mathews, and David Wessel period, Boulez was the person playing – together to build a utopia at the Pierre Boulez, 1925-2016 some of the piano sounds in Schaeffer’s intersection of science and music, but by Chryssie Nanou Cinq études de bruits. His experience with focused on musical creativity. IRCAM Musique Concrète, followed by the early would become home to software and At the end of the summer of 2014 foundations of the Darmstadt School technology developments that would we gathered on the Hill of the Muses, with fellow composers Luciano Berio, become central to the computer music overlooking the Acropolis, to hear the Luigi Nono and Karlheinz Stockhausen, communities, going far beyond the music of our contemporaries performed convinced the young Boulez that the musical work of Boulez himself (and under a clear Athenian night sky. As part renewal of material alone is not enough Max/MSP is but one example). As a of the joint SMS/ICMC held in Athens, for an intellectual restructuring of music conductor and musical director after he this wonderful evening concert featured history. He did not hesitate at that time left IRCAM in 1992, Boulez was a strong works diffused live in a beautiful – but to compare the evolution of musical supporter of young computer music noisy – setting, surrounded by aged pines, by Arshia Cont materials to that of architecture and composers, inviting them to festivals Hellenic crickets and the noise cloud of a construction. He further believed and and orchestras all around the world and bustling city. In 2016 the music community lost many acted upon, that such changes cannot initiating the necessary infrastructure to important figures who left their mark happen by a single person’s effort but by support their creativity. It was at the end of the program when on the 20th century, and the Computer coordinated efforts in science, art, society our dear friend Jean-Claude Risset took Music community has been no exception. and politics. The imprint of Pierre Boulez’ activity his seat smiling to diffuse the four-channel Among such figures, Pierre Boulez is is visible not only in his acclaimed work Elementa (1988), a four-movement, one whose loss will be mourned by the In the 1970s, at the height of his compositions and writings, but also in 22 minute tour de force compositional classical music, contemporary classical artistic career as head of the New York his support and influence on composers, mastery and ingenuity. At the core of his

11 12 array Tributes Meg Schedel et al. 2016/2017 compositional thinking – mixing natural References with synthetic sounds, merging vocabulary and syntax – is a captivating voyage of [1] Oliveros, Pauline. ‘Interdependence’, a living organic soundscape. Much to In: Four meditations: for orchestra. Deep our surprise the piece, instead of losing Listening Publications, 1996. definition and precision in the wash of background noise, shone through in the natural environment creating an amalgam where the composer’s personality, the “man of the South”, was revealed. It was Jean-Claude in his element, one of our most sophisticated thinkers and skilled artisans mixing a captivating and enrapturing piece within the natural environment of the Mediterranean South.

For all of his pioneering work around the globe, Jean-Claude was infinitely generous with his time and spirit. He guided and encouraged generations of musicians and scientists alike, from to IRCAM, CCRMA to Dartmouth. When my friends and I share stories of wonderful times spent with Jean-Claude, they ultimately end in a similar discussion of his generosity of time, spirit and wisdom.

Jean-Claude Risset passed away in Marseille on November 21, 2016. On behalf of the ICMA Board of Directors and the membership as a whole we thank Jean-Claude for his vast scientific and musical contributions to the field, as well as his tireless energy and enthusiasm for art and for life.

13 14 array ICMC 2015 Keynote Miller Puckette 2016/2017 This is not to deny the power of modern closure ends. The trouble begins as frequency limits whose sum is less than digital signal processing theory and its soon as we even go so far as to multiply R/2,the multiplication is exact; and ICMC 2015 Keynote Address applications, but rather to claim that its one signal by another. Suppose two when not exact, it is often a very good The Sampling Theorem and underlying assumption – that sampled signals, X[n]and Y[n], are used to approximation. But the approximation’s its Discontents the sampled signals on which we are represent two continuous accuracy or lack thereof is rarely operating are to be thought of as functions of time x(t), y(t), which we worked out explicitly. by Miller Puckette exactly representing band-limited assume to be band-limited, containing Saturday, 26 September 2015 continuous-time functions – sheds light on only frequencies in the Nyquist frequency We could always take action to band-limit certain digital operations (notably time- band, the interval (-R/2, R/2) where two signals (by filtering them) before The fundamental principle of invariant filtering) but not so R is the sample rate.The values can either multiplying so that the multiplication itself computer music is usually taken to aptly on others, such as classical be real or complex, and for doesn’t yield frequencies outside be the Nyquist-Shannon sampling waveform generation. simplicity we’ll assume the computer can the Nyquist frequency band. But this theorem, which states that a band- exactly represent the numerical would cause delays and/or phase limited function can be exactly Digital audio practitioners cannot escape values. (It isn’t true but that is usually a distortion, not to mention the represented by sampling it at regular the necessity of representing comparatively minor issue). computational cost this would incur. intervals. This paper will not quarrel continuous-time signals with finite-sized with the theorem itself, but rather will data structures. But the blanket There is, of course, a perfectly good One fundamental operation in electronic test the assumptions under which it assumption that such signals can only be continuous-time signal, call it z(t), music practice (in my thinking, the is commonly applied, and endeavor represented via the sampling theorem that is represented by the computable most fundamental one) is table lookup, to show that there are interesting can be unnecessarily limiting. In Sections product, Z[n] =X[n]Y[n]. But it’s not which is used in digital oscillators and approaches to computer music that lie 4 and 6 I’ll describe investigations by two in general the case that z(t) = x(t)y(t). samplers, and also in nonlinear techniques outside the framework of the sampling recent UCSD graduates that each adopt We didn’t in reality make the product of such as FM and waveshaping. Again theorem. a distinct approach to audio manipulation the two continuous-time signals we were sidestepping the comparatively minor outside the framework of the sampling representing when we multiplied their issue of the accuracy limits of wavetable As we will see in Section 3, sampling theorem. computer representations. lookup, we instead again consider the violations are ubiquitous in everyday possibility of frequency products landing practice. The A collection of accompanying patches At this point we can look ruefully back at outside the Nyquist band. Suppose the severity of these violations can that demonstrate some of these ideas can every occurrence of the character incoming signal is a sinusoid of frequency usually be mitigated either through be downloaded from msp.ucsd.edu/ideas/ “*” in all the , Pd, SuperCollider, ω and that the wavetable lookup can be various engineering practices and/ icmc15-examples/. Kyma, 4X, or MUSIC 10 instruments approximated as a power series, or careful critical listening. But their we’ve ever built and reflect on the fact 2 existence gives the lie to the popular 1. The assumptions that the result isn’t really correct, if we f(x) = a0 + a1 x + a2x + … understanding of digital audio practice regard our sampled signals as representing as being ‘lossless’. Band-limited functions are a vector space: continuous-time ones. Often it’s a The highest possible frequency product of k you can scale one of them, or add two very serviceable approximation. If, for the kth term (ak x ) is kω. If the function is of them, to get another. But that is where instance, the signals x(t) and y(t) have a polynomial (thus stopping at a finitek )

1515 16 array ICMC 2015 Keynote Miller Puckette 2016/2017 then the situation is at least in principle distortions arising from digital sampling applications other choices might be of functions that can’t be represented possible to control by limiting kω never is to train one’s ears to hear it and, as preferable. using the sampling theorem. Although it to exceed R/2 (whether by fiat or by necessary, adjust parameters or raise is certainly less well adapted to the day-to- filtering). But for any other choice of f(x) sample rates until it is no longer audible Here for example is another possible day operations of most electronic the result is in general not band limited at But to learn to hear this, a young choice: we could choose to represent musicians than sampled functions would all, and some foldover is inevitable. electronic musician would need examples arbitrary piecewise linear functions of be, there is at least one piece of music of clean and dirty signals to compare. It time by specifying the endpoints of the that would have been quite naturally There is a reasonably broad class of is possible that practice will erode over the line segments. For example, a function expressed in this way: Xenakis’s S709, a operations that can be carried out without years as ears gradually get used to hearing like the one shown in Figure 1 could be few microseconds of which are shown in departing from the safe zone of the foldover, until perhaps one day few people represented by a sequence of triples: Figure 2, and which is described in [9] Nyquist theorem. One can record and will have heard a cleanly synthesized with an appendix showing a code listing

play back sounds. Delay networks and sound, in much the same way that few (t1, x1, y1), (t2, x2, y2) of Marie-Helene Serra’s implementation. filters (both recursive and not) are safe as North Americans or Europeans have ever The piece is realized by generating long as the coefficients do not change in tasted a tree-ripened banana. This would allow, for example, a sawtooth repeated copies of a line-segment time. One can spatialize sounds using wave to be represented exactly. waveform in which the vertices vary at level panning. But this still leaves a 2. Example of a non-band-limited Certain operations (adding two such random, successively from cycle to cycle; majority of electronic music practices signal representation functions together, for example) could be the number of segments may vary as well. that cannot be guaranteed band-limited carried out in the representation, but This is at least an existence proof that a in practice; in addition to the examples of Any system for representing continuous others (for instance, multiplying them) line-segment-based signal representation FM and waveshaping cited earlier, even functions digitally will only be able to could not (although we could allow that as may lead naturally to signal additive synthesis, which would seem to exactly represent a small subset of all well if we extended the format to manipulations that at least some be safely band-limited at first thought, is possible functions, and/or to approximate, allow arbitrary piecewise polynomials... composers might find musically useful. in reality not, since at a very minimum we more or less well, functions that can’t but I won’t belabor the point here). have to multiply the component sinusoids be exactly represented. Any particular 3. Violating the theorem’s by time-varying envelopes. choice of representation will imply a assumptions y certain subset of functions that can 1 x3 If, for example, these envelopes are be represented, and perhaps a way of y On the subject on the sampling theorem, constructed using line segments, then choosing which representable function to 2 we should not forget that the whole x y swap in for one that is not representable. 2 3 practice of electronic music using every envelope breakpoint gives rise to x1 non-band-limited frequency products For example, sampling at a constant rate sampled audio signals, and indeed the -2 t t t dropping off in amplitude asω . The allows us to claim the subset of functions 1 2 3 t4 now-ubiquitous use of wavetables for resulting foldover is often inaudible but it that are suitably band-limited and to Figure 1: A digitizable representation of sound synthesis, dates back to Max is not hard to concoct situations in which approximate any other one by leaving piecewise-linear functions of time Mathews. Mathews himself was trained it is not. out whatever lies outside the band limit. as an engineer and always took care to let This is clearly an excellent choice for The interesting thing about this format is people know about the limitations of the The most ready defense against the digital audio in general, but for some that it can exactly represent classes technology. Around 2007 he was showing

17 18 array ICMC 2015 Keynote Miller Puckette 2016/2017 visitors to his laboratory a wonderful sound if the phase happened to pass a x1 x2 x3 x4 the circuit resonates. The difficulty of demonstration which, since I haven’t seen between 0 and 1/200, but silence if the k kkk digitizing this circuit stems from the it published, I’ll repeat here.1 phase passes between 1/200 and 1/100 fact that in a digital realization there will but silence if (thereby skipping over the -g be at least a one-sample delay in Mathews’s idea is to put a square pulse in pulse). Since the slight detuning makes the the feedback path, thus changing the a wavetable (in my example, I put a phase drift alternately between these two Figure 3: block diagram representation of the frequency at which resonance occurs. one-sample-wide pulse in a 200-element cases, we unexpectedly hear a tone that Moog ladder filter This change can be quite significant; for table) and then to scan it, without toggles on and off. You can think of this instance, if k is set to one quarter of interpolating, with the phase advancing by as a beating pattern between an infinite This block diagram leads to the following the sample rate we pick up a fifth quarter- various sampling increments. Choosing a series of foldover products that just system of ordinary differential equations: cycle, so we would expect the sampling increment of 1/n where n is an happen to line up to make a square-wave resonant frequency to be off by a minor x = k . [S(a - gx ) - S(x )] integer (taking the table lookup domain modulation of the tone. 1 4 1 third (20%). The filter is often used x = k . [S(x ) - S(x )] to be from 0 to 1), you get a clean pitch 2 1 2 as an oscillator, in which usage this will be x = k . [S(x ) - S(x )] of R/n where R is the sample rate. (This 4. Example: modeling the Moog 3 2 3 heard as a tuning error – and it x = k . [S( x ) - S(x )] assumes that the phase accumulation ladder filter 4 3 4 would be reasonable to ask that one itself is done to arbitrarily high precision control an oscillator’s frequency to within before applying the non-interpolated table We now consider one interesting way to Here S denotes a nonlinear saturation a few cents, perhaps 1000 times better lookup). Choosing an arbitrary sample approximate continuous-time processes in function reflecting the fact that in any than the naive digital implementation increment gives a characteristically dirty a computer, using numerical differential real circuit realization of the network, does. If we assume linearity this can be sound. equation solvers instead of sampled the filters’ output would be limited by the corrected satisfactorily using standard processes. In this discussion I’ll rely available power supply. This is a good DSP techniques [7]; but if we take the heavily on work by recent UCSD PhD thing of course, because the filter can be nonlinearities fully into account it takes graduates Andrew Allen [1] and David made unstable by turning up the feedback much hard work [3] to overcome the Medine [5]. gain g. We’d rather allow the outputs of problems that result from digitizing the the filters to saturate than merely vaporize Moog ladder filter. A good starting example is the famous the planet as would otherwise happen Moog ladder filter design [6], a when g first exceeded 4. What I propose here will sound facile, and conceptual block diagram view of which perhaps it is: why not go back to is shown in Figure 3. Each low-pass filter The usual and somewhat schematic the differential equations and apply a in the diagram is a one-pole design whose explanation of how this filter works is that, traditional numerical ODE solver to Figure 2: 200 samples of Xenakis’s S709 cutoff frequency (k, in radians per unit at the frequency k, each low-pass filter them? Very little brainpower is required. time) is voltage-controlled. (Here we’re retards the signal by 1/8 cycle, so One simply goes to the Wikipedia page We now choose a sample increment not showing the elegant circuit design that that the four of them retard it by 1/2 for “Runge-Kutta” and types the familiar almost equal to 1/100 but slightly realizes this; Moog not only had to find a cycle, so that multiplied by -g the four-step version into a Pd extern. This detuned. If the sample increment were good signal processing model but also one feedback path is in phase with the input is the basis of the bob~ object released exactly 1/100, you would either hear a he could realize with bipolar transistors). (at g/4 times the amplitude), so that with .

19 20 array ICMC 2015 Keynote Miller Puckette 2016/2017 This approach has the disadvantage there is something self-defeating in the not yield explicit expressions for the that it requires far more computation to idea of using contemporary technology to derivatives of the state variables; instead, ẋ = -ky + (1 - x2 - y2) x + f(t) generate output samples than the DSP try to recreate sonic experiences from the a system of simultaneous equations must ẏ = -kx + (1 - x2 - y2)y approach does. If your end goal is a past, when instead we could be looking be solved to compute the derivatives. stand-alone software or hardware product for new ones. (In physical terms, this is because real This can be thought of as a vector field, that imitates the historical Moog ladder electronic components don’t have ‘inputs’ where the points are possible states of filter, it may well be worth the research To make just one example, suppose and ‘outputs’; instead, causality flows the system and the vectors are the time and development time (months or years) we decided that the cutoff/resonant bidirectionally along each physical wire.) derivatives which show how the current required to implement one using the frequency k should depend on the internal state flows through the state space. The work cited above. But on the other hand, state of the filter, for instance taking one Instead, what we have here, as David flow may depend on time; in this example

if your aim is to explore one or another value when state variable x1 is positive and Medine proposes, is a block-diagram- there’s a forcing function f(t) imposed from possible refinement of, or deviation from, a different one otherwise. If you drove based system of components each of elsewhere. (The vector field is drawn in the modeled filter then you would have such a filter to oscillation g( ≥4) you would whose output’s derivative is a function of the figure with the forcing function f(t)=0). to redo all this work for each possible get a sort of self-FM, and if instead (or in its state and inputs, in such a way that we modification. Furthermore, without any addition) you drove it with an incoming can construct a modular synthesis When f(t) = 0, this oscillator converges to real filter to test your results against, you sound you could get a variety of effects.1 environment that is realizable in systems the unit circle where the term 1 - x2 - y2 could never know how accurate your of differential equations in explicit form, disappears; the result is simple harmonic modeling really is. You could make all sorts of other changes; readily solvable using straightforward motion. As with the Moog filter when for instance changing the number of techniques such as Runge-Kutta. pushed into oscillation, this example gives For one thing, we cannot automatically stages from four to eight or twelve, Although the software doesn’t exist yet, various results when forced with a sinusoid assume that the many idealizations built possibly making several taps with this could easily be made into a graphical tuned a minor third or so from the natural into our model aren’t causing us to lose independently controllable feedback patching language for quickly exploring a oscillating frequency.1 (In truth it is much something in translation [8]. To know coefficients, inserting input signals at wide range of synthesis techniques. less interesting sonically than the Moog that for sure we would have to make more than one point in the circuit, making example, but its conceptual simplicity comparisons, one by one, of the simplified the saturation function asymmetrical, 5. Two More Dynamical Systems makes it suitable for a range of extensions model against one in which each and so on without end. that will not be explored here.) simplifying assumption was replaced with The Moog filter simulation above is an a more realistic one. This is feasible using This line of exploration should not be example of a dynamical system, which is For another example of a dynamic numerical methods, but would be onerous confused with the idea of simulating or only to say, ‘it’s a system that can be system, consider the famous Lorenz to do using DSP techniques. modeling actual circuits. One could do written as a set of simultaneous first- attractor.1 Here, for convenience, in that with the SPICE circuit simulator, order differential equations, solved for the addition to the usual parameters α, β, ρ But things get even more interesting when for example. But such an approach has derivative terms’. Such a system can be there is a speed parameter, in MIDI units, we consider possible variations on the several disadvantages. First, you have visualized as in Figure 4. that simply scales all the time derivatives filter design itself (leaving aside the to design a real circuit, which is much so that the model runs globally faster or question of whether a ‘real’ circuit harder to do than to arrange low-pass Here the system of equations describes a slower. The output can either be listened might exist to exhibit them). After all, filters as described in the functional simple forced oscillator: to directly (by connecting one or another

21 22 array ICMC 2015 Keynote Miller Puckette 2016/2017 Andrew Allen takes continuous-time of the system in real time at computer- approach to modeling continuous-time state variable directly to a loudspeaker) or modeling in a quite different direction, game-worthy frame rates (the graphical processes. Returning to the idea of using used to control the pitch of a sinusoidal realized in his Windows game (to use the optimization was tricky and system- dynamical systems as audio generators, oscillator; I find the latter choice the more word loosely), named Ruratae. Here the dependent, which is why the game runs we propose a methodology for designing interesting to hear. model is that of a physically vibrating only on Windows). ones for which we can find exact solutions network of interconnected objects, much despite the availability of interesting This approach has the disadvantage that as in physical modeling systems such as To draw a conclusion from the work of non-periodic behavior. Specifically, we it requires far more computation to Cordis Anima [2] or Modalys [4]. Unlike both Allen and Medine, the universe of can impose a constant vector field as to directly (by connecting one or another those systems, the emphasis here is not on ODE systems is still uneven terrain where the flow, so that locally we get motion in state variable directly to a loudspeaker) or exactly modeling a real physical system. no single approach is without its own straight lines. Interesting results can come used to control the pitch of a sinusoidal Such modeling has limitations similar particular set of limitations. At the same from connecting flat sheets together in oscillator; I find the latter choice the more to those of circuit modelers as either time, both approaches are powerful and geometries that have cantankerous global interesting to hear. would be applied to music synthesis: offer much potential to build compelling properties. expertise is required to ‘build’ reasonable and fun computer music instruments. sounding instruments, and once the This should continue to be an active area A physical system that suggested this instruments are built they cannot be of research. approach is pictured in Figure 6. Two quickly modified. ideal mass-spring systems, with equal masses but tuned to different frequencies, Ruratae takes a higher-level approach, in are held at a distance apart so that they which fanciful collections of point collide, either occasionally or constantly. masses are connected by generalized Collisions are elastic: each mass recoils at ‘springs’ that may exhibit nonlinear its speed of incidence as if it had bounced responses, damping, and/or may snap to a hard surface. (This isn’t really correct; when elongated past a maximum value. the masses should in fact exchange The system makes no distinction between velocities; but it is much easier to model the act of building an instrument and that this way since each oscillator’s energy then of playing it. The user hears the stays fixed.)1 Figure 4: Example of a dynamical system: a instrument vibrating in reaction as masses forced oscillator and connections are added or deleted (or Figure 5: Screen shots from Andrew Allen’s snap). This encourages a highly intuitive Ruratae software (reprinted from his PhD state variable directly to a loudspeaker) or and exploratory style of instrument dissertation) used to control the pitch of a sinusoidal design. oscillator; I find the latter choice the more 7 Uniform flows on locally flat interesting to hear. Compared to dynamical systems in surfaces general, Ruratae’s focus on idealized 6. Ruratae: unphysical modeling physical systems constrains them in a way We turn now to a very different possible Figure 6: Dynamical system: two colliding,

23 24 array ICMC 2015 Keynote Miller Puckette 2016/2017 Both of the two systems are assumed to flow would be a constant vector field, planned-for musical desiderata. oscillate with amplitude 1, and can thus so that trajectories would be the The hankering of late twentieth-

be represented by their phases ø1, ø2, familiar geodesics known to players of century Western composers for order which we take to range from -π to π, and 1960s-vintage SPAWAR. The missing and structure fit in perfectly with square acts as a wormhole in the space. the computer’s ability to accurately equal to 0 when a spring is at its most 0 stretched. At moments where the phases Whereas the dotted path in the figure manipulate data, and their musical are such that the two masses come into represents a possible trajectory in the practice did not suffer much from contact, say at ø = -ø and ø = -ø , we absence of the wormhole (so that the two the computer’s main early failing: 1 a 2 b φ simply advance the phase so that they are oscillators advance independently), in the 2 the impossibility of real-time audio in the same location but moving away presence of the wormhole the trajectory is computations. It is in a spirit of from each other instead, that is, wrapping altered as shown by the solid path. 0 appreciation for their contributions that I φ1 around forward to phases ø1 = +øa and ø2 am here exploring the spaces beyond the Figure 7: Trajectories through toroidal phase = +øb. To be exactly correct, we should We can then listen to any suitably smooth pale they constructed – if for no other measure by what amount the two phases function of the phase space. For instance, space: dotted path, normal; solid path: with reason than the light it sheds on what have exceeded the values at which the to hear a mixture of the two oscillators wormhole we’re doing as we follow in their collision occurs and the rebound phases we would choose the function cos(ø ) + footsteps. 1 in time, we merely propagate forward in should be forwarded by the same amount, cos(ø2), but other choices abound. We but the provided patch does not take care would require only that the function take a straight line until we hit a boundary Meanwhile, traditional musical of this detail. the same value on any two diametrically (at a time point that in general won’t be instruments (especially that oldest one, opposed points so that the result of an integer number of samples at any the human voice) refuse to give up their Here is an analysis of the behavior of crossing the wormhole is continuous. (If fixed sample rate). Whenever we reach a secrets, and remain capable of musical the system, slightly further simplified we wish, we could work somewhat harder boundary, we jump to the diametrically gestures that no computer can yet imitate. but presented in a way that can readily and arrange for matching derivatives as opposed boundary point and continue Part of the secret undoubtedly lies in be generalized. The phase space is a well.) as before. This gives us a list of segments the real-time interaction between player square whose coordinates are the two in a format similar to that of Figure 1. and instrument, and perhaps another phases, with a centered, diagonally The whole scheme could easily be To listen to the output, we convert it to a aspect is the complexity and inherent oriented square corresponding to points extended to higher-dimensional spaces sampled signal. unpredictability of the physical processes at which the two masses would occupy (representing more than two oscillators) that take place inside the instruments. the same space (see Figure 7. This is a with as yet unexplored results. Even 8 Observations and conclusions simplification; in the original physical with only two dimensions, a variety of rich It is no accident that all the examples model the forbidden region is not really interactions between the two oscillators Early Bell-Labs-resident composers such I have invoked here are in one way a square. Many other boundary shapes can be quickly found. as James Tenney, Jean-Claude Risset, and or another unpredictable. Because of could be used instead.) set out a theory and praxis this they practically require real-time The interesting thing about this model is of computer music that many composers exploration to unlock their musical Without the middle square cut away, the that it allows for exact solutions. To know have since followed, privileging precise possibilities. In this respect they are all also phase space would be a torus and the our position in phase space at any point execution of carefully specified and beholden to another tradition perhaps

25 26 array ICMC 2015 Keynote Miller Puckette 2016/2017 best exemplied by Michel Waisvisz’s famous Crackle Box. They lie on the implementation of the Moog ladder fringe of what is considered correct filter,” In Proceedings of the International electronic music practice. Fringes are Conference on Digital Audio Effects are interesting loci, and any reasonably (DAFx-04), 2004, pp. 61-64. complex domain will have many of them; so even if each individual one is limited in [4] F. Iovino, R. Causse, and R. Dudas, range their aggregate might offer a large “Recent work around modalys and range of possibilities. Besides, what seems modal synthesis,” in Proceedings of the like a fringe one day might be understood International Computer Music Conference. as the mainstream sometime in the future (for example: electronic music itself). [5] D. Medine, “Dynamical systems for audio synthesis: Embracing nonlinearities Notes and delay-free loops,” Applied Sciences, vol. 6, no. 5, p. 134, 2016. 1.The examples used in this article are: mathews-table-lookupexample. [6] R. A. Moog, “A voltage-controlled low- pd, bentbob-test.pd, forcedosc-test.pd, pass high-pass lter for audio signal lorenz-test.pd, coupled-sampled.pd. All processing,” in Audio Engineering Society are available from msp.ucsd.edu/ideas/ Convention 17. Audio Engineering icmc15-examples/ Society, 1965.

References [7] T. Stilson and . Smith, “Analyzing the Moog VCF with considerations [1] A. S. Allen, “Ruratae: a physics-based for digital implementation,” in Proceedings audio engine,” Ph.D. dissertation, of the International Computer Music University of California, San Diego, 2014. Conference, International Computer Music Association, 1996. [2] . Cadoz, A. Luciani, and J. L. Florens, “Cordis-anima: a modeling and [8] T. E. Stinchcombe, “Analysis of the simulation system for sound and image Moog transistor ladder and derivative synthesis: the general formalism,” Computer lters,” Citeseer, Tech. Rep., 2008. Music Journal, vol. 17, no. 1, pp. 19-29, 1993. [9] I. Xenakis, Formalized Music: Thought and Mathematics in Composition. Pendragon [3] A. Huovilainen, “Non-linear digital Press, 1992, no. 6.

27 28 array ICMC 2015 Keynote Jonty Harrison 2016/2017 skills are embarrassing. So, without for composition, performance and teaching. of London). I am a composer who has a moment wishing to question Jon’s However, separating these three facets of always been involved in performance: an ICMC 2015 Keynote Address judgement in inviting me, part of me my work is very difficult as, for most of obvious but not unusual link. My musical State of the Art? A nevertheless wonders exactly what I’m what might loosely be termed my ‘career’, passions during my teenage years were personal reflection on the doing here today. Perhaps it was thought composition, performance and teaching Wagner, Mahler, Debussy, Stravinsky and intersections of music, sound that my recently acquired emeritus status have been inextricably intertwined. And Schoenberg (though the Beatles, Bob and the creative imagination might give me some special insight on this has had both positive and negative Dylan and others also got a look-in!). My the conference’s main theme – Looking aspects, for there have been some years classical training has, of course, coloured Back, Looking Forward. (It is certainly in which my total compositional output my compositional thinking and has left by Jonty Harrison true that my change of status has made was 0’00” – thanks, in particular, to audible traces in my music. For example, Sunday, 27 September 2015 me think about what I have done, do now teaching (or, more accurately, to university something that I can only describe as and might do in the future.) Or, perhaps administration, which seems the most a sense of ‘phrase’ or ‘phrasing’ (even I am delighted and honoured to be people thought I might spice things up a time-consuming aspect of higher including a notion of ‘cadence’) when one of the keynote speakers for the bit by being provocative. This is always education these days). shaping musical time, as well as a related 2015 ICMC, and I should like to take possible – as I get older, I am increasingly preoccupation with ‘causality’, have both the opportunity, right away, to thank curmudgeonly and critical of what I see 3. My name is Jonty and I am… an found their way into my acousmatic Jon and the organising committee for (and hear) happening around me, and acousmatic composer music. I have an ingrained sense that, inviting me to take on this role. All the official retirement means I can say what I as a physical phenomenon, sound is same, I’m a bit puzzled! really think (what can they do – fire me?). Let’s start with composition, as that is at related to and results from physical the centre of my activities. Composition is action. Sound does not just happen; it is 1. Why am I here? Whatever the reason for my presence, what defines me – to myself. If I were not made. As a consequence, my acousmatic and despite my keynote address being a composer, I would not be involved with music is articulated by gestural events, As an ICMC keynote, I find myself scheduled between those of Carla and performance and I would certainly have which appear to cause changes in the in some impressive company. Recent Miller, I hope that I can make a few no justification for being in education. I surrounding musical fabric. It may also keynotes, including my two colleagues observations about the state of the art – am, first and foremost, a composer – an explain the predominance in my work of at this conference, or, at the very least, the state of my art – acousmatic composer, to be precise. But ‘real’ sound materials over electronically and Miller Puckette, have been true that will make this presentation more than this was not always the case. generated ones – although there are pioneers in the field of computer music just a comedy interlude! I am a classically trained musician: piano plenty of those, too! composition and/or have developed lessons at age six, horn player after that programs or algorithms that have 2. What do I do? (not a bad one, actually, even making it My age and the era in which I grew up changed the shape of the computer into the National Youth Orchestra of are therefore important factors in my music world. I have done neither I shall assume, therefore, that I am Great Britain and I seriously considered musical makeup. I am old enough to of these things; I am a few years standing here because of my work in trying to go professional), conductor, have been trained during a period – the too young to belong to the ‘pioneer the music part of the ‘computer music’ and member of a music theatre group 1960s and 70s – where composition was generation’, and my programming equation.1 And, for the past 35 years, at University (think Kagel, not musical regarded as a highly intellectual activity, ‘music’ has meant three things for me: theatre like Broadway and the West End involving lots of pre-compositional

2929 30 array ICMC 2015 Keynote Jonty Harrison 2016/2017 pitch charts, durational schemes, and so in a few vices, one of which is listening I recognised myself. I am essentially a 4. Rethinking music: what did I on. At the University of York in the early to Radio 4, the BBC’s excellent ‘talk wroughter – a maker; a doer. My exam learn in/from the studio? 70s, discussion among composers (and radio’ channel. (Bear with me – this is results at school suggested that I was fairly there were very many of us, including all relevant!) One day, I heard a discussion intelligent, but I have always felt like a bit It is tempting to claim that I am self- the faculty members!) revolved largely about education – a perennially hot of an interloper on this front, not least taught in the field of electroacoustic around what we would now see as the political topic in the UK, where successive because I have always been sufficiently music – I did not take the undergraduate high modernist project related to integral government ministers are forever self-aware to know, deep down, that the studio course at York, and had only the serialism, and around its leading figures tinkering with the curriculum and what nature of my intelligence does not lie briefest of introductions to the facilities – Boulez, Stockhausen and Berio (with it should or should not contain. Someone in my grasp of, nor my ability to create by another student. Luckily for me, Denis whom my tutor, Bernard Rands, had mentioned ‘the three “R”s’. I’m not (and then realise), grand concepts. My Smalley was by then approaching the himself studied). I was a fully signed-up sure if this label exists outside the UK, intelligence, such as it is, is not so much end of his doctorate, following a year in member of this club, and I must confess but there it is always cited by those of a standardly ‘intellectual’ as practical, applied, Paris, and was prepared to spend many that I am still a huge fan of much of this more traditionalist outlook as being the and therefore, pragmatic.2 I say ‘therefore’ hours discussing musique concrète and the music. essential basis of ‘education’. The three because it seems to me that the verb ‘to GRM with me. He even, with astonishing ‘R’s are, allegedly, reading, writing and wrought’ implies getting one’s hands generosity, let me sit at the back of But then something strange happened. (a)rithmetic. Now, apart from the obvious dirty. Vision and ideals have their place the studio and watch him work, which After four years at York, and at the end problem of basic literacy in respect of in human activity, but if you actually was how I acquired most of my studio of my first year as a graduate student, I the letter ‘R’, I had often wondered why want to get anything done, you have to technique. Nevertheless, it was the things I decided that I should find out what the ‘reading’ and ‘writing’ were both in there, be pragmatic: you have to grab hold of discovered for myself (and what does this electroacoustic music studio had to offer as they are strongly complementary skills, the materials and shape them; interact imply about ‘education’ as it is so often me as a composer. What I expected to if not actually the same. In a flash of and negotiate with them; and respond to practised today?) that had the greatest find there were ways of extending and enlightenment for me, one person in the their particular characteristics, in much impact on me as a composer. expanding what I was already doing in radio discussion explained that, in fact, the same way that sculpting implies a the instrumental domain. What I actually the three ‘R’s (while equally compromised sensitivity to the grain of the wood or the In basic terms, the studio turned discovered challenged everything I from the literacy point of view) actually striation in the stone. everything I thought I knew about believed about what music was and might refer to the three life skills of reading, composing on its head. I mean this quite be. Looking back, I now realise that, wroughting and (a)rithmetic. Of course! Now, I am aware that this is in danger literally, because it made me realise – and despite signing the serial pledge, in my From the dictionary, wroughting means: of becoming a confessional and I want truly (re)experience – that music is made heart of hearts I never truly belonged in ‘to make or do in a careful or decorative to avoid that, but there is a key principle from sound. It made me remember that the serial/modernist camp, any more than way’ (as in ‘wrought’ iron or a carefully- here that has informed everything I ‘works’ are not composed from abstract I had what it took to be a professional ‘wrought’ poem), and: ‘to cause something have ever done across my composition, structures, ideas and concepts that horn player. Discovering the studio was to happen’ (as in ‘the director wrought performance and teaching, and that is just happen to use sounds to articulate like coming home. major changes in the company’). pragmatism. I should like to explore what themselves, but that sounds take shape this actually means, and we can start to over time to form works. For me, at My increased ‘leisure time’ since A lot of things in my life clicked into place illustrate this by returning to my narrative least, this means that the most successful retirement has allowed me to indulge with this chance radio encounter, because about the studio. pieces are those that demonstrate a

31 32 array ICMC 2015 Keynote Jonty Harrison 2016/2017 profound link between the component I believe the ability to record and store 5.3 Interactivity composer-genius prior to the creation sound materials and the overall form. sound (and the ensuing possibilities of of ‘the work’ (beyond the collecting of It is the properties and qualities of the modifying it) to be the most important I should like to challenge the more usual musically promising sound materials, sound materials themselves that generate development in the history of music. definition of interactivity within our field, that is, a process which may well predate structure, and not the other way round. by proposing the following observations the compositional period by some time), So the studio enabled me to reconnect • It provides instant access to sound itself, about interactive engagement in the ‘instinct’ is assumed to be the exact with sound – the fundamental raw not via memory or via the intermediary studio: opposite of intellectual rigour. It also material of music – and to reconnect agency of notation; makes acousmatic pieces extremely with it in a very direct, hands-on and • It allows repeated listening, which • The constant ‘testing’ and ‘probing’ difficult to analyse (instinctively composed sculptural way (‘wroughting’, again). And leads, incidentally, to Schaeffer’s notions of material in a dialogue is actually acousmatic music is a double whammy for because I was manipulating actual sonic of the objet sonore and écoute réduite. interactive (in fact, I consider all focused analysts as there is no score to allow ‘out events, not notational representations Such privileged access is not without its listening to be interactive; as Nattiez of time’ access to the music). However, of them, I was able to check during the dangers, however. Basing compositional points out, ‘the work’ is constructed not in my experience, working instinctively process of composition that the sounding decisions on fine differences that may not only by the composer’s poiesis but also by does not mean working in a vacuum, relationships were actually there, rather be apparent to the first-time listener is one the listener’s esthesis); without reference to anything else; than simply assuming they were audible such problem; • Results are assessed by, and changes furthermore, it does not mean working because they were visible in notation. As • It permits a re-engagement with made, entirely on the basis of how without intelligence, for one’s ‘instinct’ is Trevor Wishart once said to me: ‘If I can’t fundamental aspects of sound phenomena they convince the ear – a recursive clearly shaped by one’s previous listening hear it, it’s not there’. (in my case, this led to a (re)discovery process involving reflection / rejection / experiences – both musical and otherwise. of octaves, fifths, thirds and other serial transformation / improvement / pushing And this listening constitutes the gathering So, to summarise: I began to compose, taboos). the boundaries; and application of ‘intelligence’ in every not from the top down (as with notational • ‘Performance’ (e.g. manipulating faders, sense of the word. approaches), but from the bottom up. 5.2 Primacy of the ear EQ, tape recorder starts and stops, etc.) was an integral part of composing My composition practice can be 5. Reference points The ear is the means by which sound in the tape studio, even though this is characterised as a constant feedback reaches the brain; composers should more usually done today through digital loop in which I improvise – trying things There are many aspects of studio therefore: surrogacy. out (timing, levels, placement, balance, work that feed into and inform this signal processing, etc.) and accepting or basic approach. In my experience, the • Be sensitive to the unique properties of As an acousmatic composer, then, I rejecting the results on the basis of aural most significant considerations can be sound materials and what they offer; work almost entirely instinctively, or by assessments: does this work? what would summarised under the themes of ‘sound • Recognise that sound materials already ear. Now, this makes a lot of people, make it better? And so on. My judgements storage & access’, ‘primacy of the ear’ and imply how they want to develop/be especially those in academia, very jumpy. are not based on preconceived strategies, ‘interactivity’: processed; In such circles, working ‘instinctively’ structures or formulae, and there are • Be willing to structure musical time on tends to be perceived in negative terms. certainly no predetermined rules. What 5.1 Sound storage & access what works in sound. Because of the lack of a demonstrable ‘works’ and what is ‘right’ are context ‘vision’, or qualifiable ‘inspiration’ of the dependent: they may be completely wrong

33 34 array ICMC 2015 Keynote Jonty Harrison 2016/2017 in another situation. My judgements are is driven entirely by what I hear. I should 70s, as Parmegiani’s De Natura Sonorum everyday sound materials, with audience based on close listening to my chosen add, though, that this is also a frustratingly audibly demonstrates – indeed, the recognition of sources as an integral material, and they are informed by all the inefficient way to compose, as I spend interplay of recorded and synthetic sound dynamic of the work. I have examples of other musical and everyday listening that a great deal of time floundering about is what that piece is about!). So you will both in my own catalogue. I have ever done. Furthermore, my aural without a clue as to where I’m heading. probably not be surprised if I claim that I assessment is holistic, involving all the But I see no real alternative, for to propose believe I still compose musique concrète, 6.1 Works that veer towards abstraction: aspects of a sound’s behaviour and energy ‘a method’ would be to risk becoming but now use computers and software to do profile at once: spectral, dynamic, spatial, formulaic. Each piece of acousmatic it. Although I didn’t entirely realise it at the etc. In my view, these characteristics are music needs to discover and define its own time, my earlier acousmatic works could intrinsically linked, and not easily broken terms of reference, precisely because it is 6. A street with two names be considered classically ‘Schaefferian’. down into separate (and separately based on unique sound materials. I have (© B. Truax) They are not concerned with the source controllable) ‘parameters’. So I am not written elsewhere that it seems to me that sounds’ real-world origins, nor with their imposing my will on sound material, acousmatic music, almost by definition, Much of my work weaves a drunken path role or implications in that context, but but working in partnership with sound will always be in a situation rather similar down a street that, on one side, seems to with a musical discourse teased out of material and its unique characteristics. to Schoenberg’s ‘free atonal’ period, be called ‘Rue Pierre Schaeffer’, and on their spectromorphological (Smalley, Together we feel our way towards the where he really was living on his wits and the other, ‘R. Murray Schafer Street’.3 1997) – their abstract, ‘purely musical’ creation of a context and a final ‘form’; literally ‘making it up as he went along’. I Interestingly, Schaeffer himself apparently – characteristics. Works of mine that one in which my musical – that is to say can think of few examples from his later expressed discontent with his Etude aux exemplify this approach are Pair/Impair, my emotional and intellectual – curiosity 12-tone period that compare with the Chemins de Fer for sounding too much like Klang, …et ainsi de suite… and Surface is somehow engaged, involved, and creative energy and vitality of a work like railway locomotives in a shunting yard. Tension. ultimately satisfied by what I hear. Erwartung. In other words, he was concerned that the sounds were too reminiscent of their 6.2 More ‘referential’ works This way of working means that I move The underlying point of all of this is that origins and insufficiently abstracted from gradually from concrete sonic events to acousmatic music – mine, at any rate – is their real-world associations. Time does Occasionally, however, my music would what the piece is ‘about’ (the concept). based on the qualitative assessment of not permit me to explore this in detail, allow a glimpse of the real world to sneak Note that this is the reverse of the way sound’s unique characteristics, not the but I mention it because it is important in. Since the mid-90s, I have consciously that ‘music’ (in the western art music quantitative measuring of ‘intervals’. And, for me and my work that the acousmatic exploited the original contexts (and tradition, at any rate), with its canon of of course, this was essentially the approach medium is pliable enough to embrace signification) of my source sounds, to the established ‘geniuses’, is traditionally of composers of musique concrète (which, sound materials from virtually any source, extent that recognition of provenance understood to work – not least within incidentally, I think is more to do with and certainly from sources that lie beyond has a key role in the musical structure academia. I use no (or very few) sketches this way of working ‘concretely’ with the relatively small pool previously and ‘meaning’ of my pieces. Even so, I or plans, and I make no pre-emptive sound material of whatever provenance considered ‘musical’. I am talking here was always very keen to retain a certain decisions about structure (and usually than with any simplistic definition that about the stand-off – and therefore the ambiguity of function or meaning in my not about duration unless this is imposed implies only the use of only ‘real’ sounds, vast expressive potential – that exists music; this is certainly not phonography, by a commission). All of these emerge recorded with microphones: synthesis was between ‘abstract’, ‘pure music’ (whatever soundscape composition or sound during the compositional process, which an integral part of the GRM from the that is) and anecdotal reference to documentary. Works leaning towards this

35 36 array ICMC 2015 Keynote Jonty Harrison 2016/2017 side of the street include Sorties, Unsound reproduction in performance is actually the profile of the work to something that together with four more of my own, Objects, Hot Air, Splintering, the four works possible! In a straight battle between carried over to a public listening context. plus some Motorola tweeters that I had of ReCycle, and others. ideology and the real world, the real world So massaging the dynamic profile in bought. I felt that the event needed a will – ultimately – always win. Enter, once performance is arguably as essential as catchy name, so I idly jotted down ‘BEA’ From the late-90s onwards, my works again, pragmatism. manipulating ‘space’, which is what most for ‘Birmingham Electro-Acoustic’ (I used have continued to explore this continuum people initially think of in connection to hyphenate the word in those days). I between ‘abstract’ and ‘anecdotal’. These What I am going to discuss here is the with diffusion. Inevitably, if one is using then thought it would be good if I could have nearly all been multichannel – practice of sound diffusion – performing multiple speakers, then their spatial find something appropriate to complete 8-channel to start with, and much larger acousmatic music over sound systems configuration is a factor in what is heard. the acronym these three letters seemed channel counts – up to 72 in BEASTiary! made up of multiple (and possibly varied) But my approach to diffusion is based to suggest: ‘BEAST’. ‘Sound Theatre’ – in more recent years. But to explain loudspeakers. I am not talking about on an assumption that ‘space’ (or what seemed to fit the bill exactly. And the rest how on earth something like that came laptop performance, which I have done Smalley calls ‘spatiality’) is just one aspect is history! (Well, no… even I would not be about, I need to discuss the flip-side of only twice in my life. But this experience of that holistic bundle of characteristics that pompous!) Though it is nevertheless composition: performance. did confirm that, for me, ‘improvisation’ that make up a ‘sonic object’, and that the case that, for me at least, BEAST is best done in the privacy of the studio energy in the spatial domain is likely to is, effectively, history. This is something 7. The performance practice of and then subjected to the scrutiny of be strongly allied to energy profiles in I shall return to later, along with a few acousmatic music reflection, selection and improvement. I dynamic and spectral domains. observations about being part of an wish that more people would come to the academic institution. From what I have already said, you will same conclusion. 8. BEAST (Birmingham not be surprised to hear that I regard the ElectroAcoustic Sound Theatre) Returning to our discussion of concert whole business of presenting acousmatic I said earlier that ‘performance’ – by presentation, it is important to remember music in public contexts as a huge exercise which I mean shaping and moulding After finishing at the University of that the great majority of acousmatic in what my father used to call ‘the art material in the studio; starting and York in 1976, and following a period music is in stereo. This format is, however, of the possible’: doing the very best stopping tape recorders at the right time; of four years freelancing in London, artificial. In our everyday lives, sound does that can be achieved in the prevailing and using faders, panners and processors I was appointed to a Lectureship at not only propagate within a frontal 60 circumstances. Because of this, I tend in a complex choreography – has always the University of Birmingham. This degree vector on the horizontal plane, but to take the view that the tape, disc or been embedded in the composition was 1980, and I immediately set about can stem from any number of positions sound file – certainly in the case of my of musique concrète. Furthermore, improving the Studio and building a around the listener. However, we accept own works – is a blueprint for potential the physical limitations of the early loudspeaker system designed specifically stereo and feel comfortable with its future action, rather than a definitive storage media, particularly with regard for the public presentation of acousmatic limitation – largely, I suspect, because of statement. I fully understand and respect to restricted dynamic range4 made it music. After spending a couple of years its obvious relationship with the stage or composers who take a different view and desirable, if not essential, to ‘make the getting used to this strange new world of concert platform in musical performance, who maintain that what is stored on the quiet bits quieter and the loud bits louder’ academia, I decided it was time to get and because most of the music we medium is ‘the work’, requiring only in concert. The gestures that had shaped some of this music out to the public. So listen to is recorded and distributed in accurate reproduction in performance. material in the studio were thus essentially in December 1982 I organised a concert that format (even if we listen to it on My problem is that I don’t think accurate ‘re-enacted’ in performance to restore using the Studio’s four loudspeakers headphones – which, technically, distorts

37 38 array ICMC 2015 Keynote Jonty Harrison 2016/2017 the stereo image). Stereo is also relatively the loudspeakers. Sounds can believably simple to understand and to set up, and appear at the centre even though there is thus ‘portable’: everyone (in theory) is no actual speaker there; sounds knows how to play back a stereo piece. travelling across the image can be tracked C Nevertheless, stereophony is based on an accurately; and sounds disappearing into illusion – albeit one that, if handled well, the distance can seem, in these relatively can be unusually convincing. Because controlled listening environments, to move B A what stereophony can do is deliver sonic away, well beyond the walls of the actual

images – and deliver them quite efficiently room in which we are sitting. (Note that, D (using just two channels rather than 5, 8, in order to be believable, compositional or n). The sonic images I have in mind techniques such as reducing the amplitude Figure 1: Stereo Figure 4: Two incompatible 8-channel are, once again, things that I think of and the high frequency content, adding ‘standards’ in qualitative terms: close and intimate; reverberation, and possibly even Distant broad or narrow, dramatic and sweeping; narrowing the image by panning it focused or diffuse; delicate or aggressive; towards the centre – thereby resembling Main the vanishing point we all know from BEAST: BEASTiary – ECH, May 2014 etc. Incidentally, sources originally Wide JH – 26.4.14 recorded in stereo contain many spatial perspective in the visual domain – may be cues that can suggest particular strategies required.) for both composition and diffusion; moreover, the fact that the encoded space If, however, we now imagine that my is ‘real’ (rather than artificially created diagram represents a performance space Rear by placing mono sounds within the capable of seating 200 people, rather than Figure 2: BEAST Main 8 stereo stage) can significantly enhance an acoustically controlled studio or even the believability of images available in a relatively damped living room (curtains, performance. carpets, soft furnishings, bookshelves, etc), things will be very different. Even at Starting from the standard stereo position A (Figure 1), the dimensions of loudspeaker set-up picture in Figure 1, we the hall, the longer reverberation time know that we should be at position A if of the space and the larger distances of we want to hear a stereo image at its best, the listener from the loudspeakers will all Whether in the studio or at home in our contribute to a loss of detail and precision ATC (8) 8050 (8) APG (12) 1094 (2) 1037 (4) 8040 (16) Lynx (2) 7070 (8) living rooms, we organise things so that in the listener’s perception of the image. 8030 (24) Volt (2x2) Tweeters (10) N.B. HIGH VERY HIGH we are in the ‘sweet spot’, allowing the And if we are not in the sweet spot, illusion of stereo to be fully audible. These things are even worse! Off the central Figure 5: BEAST May 2014 illusions permit the creation of a sound- axis at position B, all lateral distribution Figure 3: BEAST set-up for stereo diffusion field that exists both between and behind and panning is distorted; too close to the

39 40 array ICMC 2015 Keynote Jonty Harrison 2016/2017 in position C creates a hole in the middle; in truly distant positions; Performance practice feeds back into works: their unfolding over time. So too far away, as at position D, and all the • The central location of the Main composition. This certainly happened to while I have no problem in performing sound is distant (and probably mono!). loudspeakers allow for the creation of me and it continued to happen, even as in galleries, I prefer to present works So here we have the fundamental a focused, intimate, universally audible the BEAST system kept growing. composed specifically for that context rationale for diffusion: in a large, public ‘central’ image; (it is simply a question of appropriate space, the original stereo images of a work • The Wide speakers deliver dramatic 9. Public vs. private listening repertoire). Secondly, if you do not know are compromised unless you actively take lateral movement to every seat in the hall; the direction in which people’s ears are steps to address the problems of room •And the Rear speakers allow for the Despite the fact that most people these facing, it becomes very difficult, if not acoustics, audience size and position, the effect of ‘envelopment’, surrounding or days listen to music (all/any music) on impossible, to deliver coherent diffusion limited dynamic range of magnetic tape, immersing listeners in sound. ear-buds attached to iPods and the like, performances of pieces. This is for the which can seem inadequate in a public I continue to find merit in the notion simple reason that the human hearing space, etc. All performance spaces are In my style of diffusion, these pairs are of people coming together socially mechanism does not work equally well different, and there is no such thing as a not necessarily used alone. Dynamically with the express purpose of listening in all directions: a fact that is unalterable neutral acoustic. (In fact, I personally find balancing between them further extends to music. Despite the above-mentioned by any fashion, trend, personal taste, most concert halls, designed for singers the range of sonic images available, right problems associated with it, there remains or style. In very much the same spirit and instrumentalists, too reverberant for up to very rapid movement across and a continuing and thriving practice of of ‘fitness for purpose’ (an example of acousmatic music.) And even if you set between these eight, thereby enhancing playing acousmatic music in ‘public the kind of ‘admin-speak’ unfortunately the levels in rehearsal, the acoustics of the the fast, fleeting energy characteristics listening situations’. However, many now so popular in universities), I feel space change when the audience arrives. in the sounds. In other words, the role people (including some of my students) strongly that acousmatic works fare So it is always necessary for someone to of the diffuser soon moves beyond have criticised me for favouring the very badly in ‘club’ contexts such as be able to intervene, to adjust what’s going mere ‘correction’ to become active and ‘concert’ format (i.e. people sitting in upstairs in a pub with people having on, in realtime. And, of course, the ears interventionist. And adding even more rows facing the front) over installations loud conversations and ordering drinks of that person have to be in the same speakers extends the range of images that in galleries and other venues (though I at the bar. While I welcome attempts to acoustic space as those of the listeners: the can be delivered. Figure 3 shows a typical have done those too, of course!) in which broaden the audience for acousmatic diffuser must be part of the audience. BEAST set-up of the 90s for stereo. It people are free to come and go and to music, and I genuinely believe that there includes speakers on the floor, in galleries, move about. is a huge potential audience ‘out there’, Figure 2 shows what I call the ‘BEAST at the mixer, and so on. BEAST in this presenting acousmatic music as something Main 8’, which I consider the minimum setting becomes a subtle and extremely My response to these possibly it is not, and in inappropriate contexts, number of loudspeakers for the diffusion malleable performance tool – an interconnected issues is twofold. Firstly, actually misrepresents it. Remember of stereo works. Diffusing stereo over a instrument, if you like. the reason I started doing diffusion that acousmatic music is based precisely system like this enhances the composer’s seriously was to present established on the qualitative aspects of their sound implied sonic images in several ways: Now, one of the things that frequently and new repertoire, the majority of materials, and therefore relies heavily happens – I would like to say ‘should which comprised concert works with on this subtlety being actually audible. • The Distant speakers ensure that a sense happen’ – when composers meet an beginnings, middles and ends. People Performing it in bars and clubs opens up of ‘distance’ can be accomplished, by instrument like this is that it starts to wandering in and out at will are thus the risk of rejection on criteria that do not moving the sound to loudspeakers placed influence their compositional thinking. unable to hear a crucial aspect of such even apply!

41 42 array ICMC 2015 Keynote Jonty Harrison 2016/2017 9. And then came 8-channel. . . for example; or using the Mains as a close, course virtually impossible to do even and Rear speaker pairs of the BEAST intimate image, surrounded by a more a simple cross-fade from one 8-channel Main 8 (as in my works, Streams and I was talking about BEAST – or, indeed, ‘ambient’ sound field inRock’n’Roll (2004). array to another (humans do not have Rock’n’Roll), albeit on a larger scale. This any speaker system – as an instrument This ability to deploy different materials enough fingers), so control surfaces and possibility became clear to me during a and about how it could grow. But so on different parts of the array, as they are software routing enter into the picture. week of testing the system in the Elgar far I have only really touched on stereo not part of a regular circle of speakers, The BEASTmulch software allows not Concert Hall, the auditorium in the new diffusion. With new the availability of comes from my experience with stereo only the grouping of multiple outputs Bramall Music Building, into which the ADAT and DA-88 machines, and sound diffusion, and is a major advantage of this under one fader, but also the independent Music Department at Birmingham moved cards with 8 outputs in the mid to late configuration. Yet there are disadvantages, mapping of inputs, outputs, faders, and in 2012. During this week I was able to 1980s, there was a fairly serious explosion too, not least regarding what I earlier much more. Indeed, almost all of the experiment with speaker locations and in the use of 8-channel as a compositional termed ‘portability’: the difficulty of functional control aspects of a diffusion learn which types of material best suited format. But what does ‘8-channel’ or sending the piece to other performers, system, as well as the specification of which specific sub-sets of the full array. ‘octophonic’ actually mean? What is a promoters or festivals, since the chances speaker positions (for techniques like The result was BEASTiary. Composed standard 8-channel speaker layout? Figure are high that they will have one of the VBAP) are implemented in the system. for 72 channels, and performed at the 4 encapsulates the problem: the eight standard circular arrays seen in Figure Once again, this leads to new creative opening festival of the Elgar Concert blue and eight yellow boxes represent 4. So for more practical (i.e. pragmatic) possibilities – in my own case, the idea Hall (and coinciding with BEAST’s 30th two conflicting 8-channel ‘standards’ reasons – in this case, the base desire for of composing in ‘spatial stems’ that were anniversary), BEASTiary is based on the that are completely incompatible, thus more performances – most of my later intended for spatialisation in realtime same source sounds as BEASTory, but presenting composers with a problem 8-channel works have used regular arrays during performance over a large system. is developed in a completely different of portability: a work composed for the so as to meet the conventions of regular This was in contrast to the act of treating direction. Figure 5 shows the full 96 blue array cannot be played on the yellow concert halls. Within BEAST, however, I a format like ‘8-channels’ as a simple channels for this event, which was array without misrepresenting its spatial was able to obtain the differentiation of indicator of a predetermined spatial replicated for my final concert as Director contents. images I was looking for by diffusing these arrangement. I explored these features in of BEAST in 2014. pieces over multiple 8-channel arrays: my work, BEASTory – a ‘portrait’ of the I did not like either of these regular, a ‘main’ array, a ‘diffuse’ array, a ‘high’ BEAST system and its personnel. 10. Back to the future… and time is circular set-ups back in 1999, so I array, ‘close’ array and so on. Luckily, running out stubbornly decided that I would use the a large grant enabled us to expand the But once you have, and can control, a BEAST Main 8 configuration (Figure system in 2004-05, and the enlarged large loudspeaker array like BEAST (now So here I am, looking backward, looking 2) as my 8-channel configuration. This system even enabled our pragmatism to operating at 96 channels), then composing forward… and I am no longer Director was largely in order to be able to place extend to the inclusion of approaches directly for the system (differentiating of BEAST. This means that I no longer different images on different speakers: based on idealised playback over regular material types and characteristics during have 96 loudspeakers at my disposal on a using the Mains and Wides to allow arrays: these included ambisonics and composition as composed stems for regular basis, so – as a pragmatist – I’m spatially detailed but wide frontal images VBAP domes. deployment directly onto the appropriate wondering how feasible it is to continue (exploiting the area of our perception speakers) is an obvious next step. It working in the way I have described. I that is most sensitive to detailed ‘location Let us now turn to the issue of ‘driving’ is a similar approach to composing recently bought a new pair of high quality information’) in my piece Streams (1999), a large system premised on the notion differentially for the Distant, Main, Wide monitor speakers, so perhaps I shall

43 44 array ICMC 2015 Keynote Jonty Harrison 2016/2017 return to my roots and start composing in teaching qualification either, which is And it seems to have caught on (you might stereo again. But what about teaching? now a requirement in UK universities), consider it a virus!), as I can produce a list the applied forms in certain parts of Just as I am no longer Director of BEAST, my approach to teaching has been of over 40 of my students (mostly PhD, academia. I am also, apart from my last completing simple: first, try to excite and interest but also Masters and undergraduate, PhD students, no longer an academic – if students; and second, try to create a plus occasional studio sessions with other 3. My thanks to Barry Truax for this I ever really was (I have often referred situation or context inside which they people’s students) who are currently wonderful image. to myself as a ‘reluctant academic’, and can learn. And this learning should be teaching, or have recently taught, in the 4. About 63dB between hiss and distortion I must confess that I took a post at a through experience, through experiment; Higher Education sector. for magnetic tape, which is what I first University at least in part because I could through making mistakes and figuring worked with. not afford to buy the equipment required out how to fix them. Sure, the odd bit of Like my approach to performing and to to make acousmatic music in 1980). But guidance, largely based on my own past composing, my approach to ‘teaching’ is 5. BEASTmulch was written as part of a I am approaching the end of my keynote mistakes, doesn’t go amiss. But I am not pragmatic, then. I do not – cannot – set research project led by Dr Scott Wilson, and I have not really discussed teaching trying to create compositional clones of out from certainty, from a vision or from funded by the UK’s Arts and Humanities yet! On the other hand, maybe I have; myself. This is why my main efforts at a concept, or from an all-embracing Research Council: Development of an teaching has been lurking underneath all Birmingham went into building up the knowledge of anything. Indeed, I don’t intelligent software controlled system for of this keynote. Because I take the view, studios, building up BEAST into what is know if anyone can. I set out merely in a the diffusion of electroacoustic music on allegedly expressed by Socrates, that ‘I nowadays known as a ‘research resource’, spirit of open-minded enquiry, to explore large arrays of mixed loudspeakers. cannot teach anybody anything; I can and – most importantly – building a this astonishing universe of sound and to only make them think.’ compositional community: a partnership discover what works and what doesn’t in a of equals in which creativity was enabled, particular context. I am delighted to have To me, to ‘teach’ in the top-down had an outlet (BEAST), and in which found so many talented fellow travellers traditional way would be anathema. To you could pretty much guarantee finding over the years, and I am sure that I have claim or even imply that, ‘I am the fount somebody who knew about a particular learned more from them than they have of all knowledge and you know nothing,’ piece of software that could accomplish from me. So, to them, and to you for is completely out of character and, a certain task (because I certainly didn’t!). listening to me today – thank you! anyway, is fundamentally untrue. Even In this model, I’m not there to say ‘this though the text you are reading is based is right’ or ‘this is wrong’. If anything, Footnotes on a lecture, and therefore suggests one- I’m there to say ‘I have no idea – let’s way traffic in knowledge, the simple fact try it and find out!’, while also providing 1. I say this because it should be obvious remains that, while you can ‘teach’ until another pair of ears to bounce things off to anyone who knows my work that I you’re blue in the face, ‘good teachers’ are in an attempt to help students discover use the computer as a tool: a means to a only good if students want to learn. their own responses to what they hear musical end, not an end in its own right. (Socrates again: ‘To find yourself, think 2. The ‘applied’ stands in Because of this fact, and because, as for yourself ’). I don’t know if this was the contradistinction to ‘pure’ science and I said earlier, I am essentially a self- right way, but it was the only way I could mathematics. I have often detected more taught composer (and I don’t have a do it. than a whiff of prejudice against 45 46 array Featured Article Elizabeth Hoffman 2016/2017 access management is of vital relevance implement different access models: the sound documentary efforts. Differently to to all computer music composers working Free Music Archive, the Open Music FMA and IMSLP, the site is fascinating as Featured Article with music in recorded form, and to all Archive, and the International Music a musicological resource, offering critical What is at Stake in the composers and musicologists working with Score Project. meta-commentary about the nature of Politics of Digital Music notated scores - including of experimental recording, preservation, and ownership. Archive Access Policies? A contemporary music. It is thus issues of 1) The Free Music Archive (http:// This site does not publicly reveal its user Brief Look at Some Evolving access that I seek to analyze in this brief freemusicarchive.org/about) is a legal base; it promotes its files as knowledge and Issues. essay. charity and it accepts monetary donations materiality for further artistic use, which in that context. A curated site, its purpose typically manifests in compositional use Crowd (or group) created libraries (often is to foster public access to high quality by its user base. This archive seeks neither by Elizabeth Hoffman called “public repositories”) stand in stark digital files of legally downloadable membership fees nor donations. contrast to the many single-entity curated new music of all genres, but especially If Jorge Luis Borges were brought back digital music collections that exist online, “experimental” music. The FMA does 3) The International Music Score Library to life today, in the second decade of such as Ubuweb. The large number not, therefore, accept all submissions. Project (https://imslp.org/) is a repository the 21st century, he would no doubt of users who upload materials do so in Its curators include more than a dozen created in 2006 which focuses on digitized believe that his speculative proposition response to a one-time request, as per international open-source sound scores, although recordings and videos of a universal library – a library a temporally delimited archive creation collection and distribution entities. The are meaningful components, too. In containing every work that had been, process; or in response to an ongoing FMA’s principles flow from those that contrast to the FMA, the IMSLP is or could ever be written – was close invite, much like Wikipedia’s model. guide its parent, a listener-supported radio arguably more attuned to the past than to being accomplished in the form of In a classic expression of the Web 2.0 station called WFMU (Jersey City, NJ) in the present, since it specializes in scores crowd-sourced online libraries that paradigm, users are the content providers 2009. WFMU’s Board meetings are open that are in the public domain. Yet it purport to store and catalogue all of – albeit working in tandem with the site to the public. WFMU is run by a team of valuably includes 20th and 21st Century the world’s knowledge. The cultural managers and creators. Such crowd publicly acknowledged individuals. FMA’s composers; Frederic Rzewski, with over implications of these newly evolving created repositories may be conceived of download numbers for particular postings a hundred self-uploaded items, is one structures are clearly vast, but this as digital assemblages with historical or are public. important example. Scores for mixed article seeks to understand them cultural preservation goals, or they may music by early tape composers, including in terms of our collective concepts be community clearinghouses for sharing 2) The Open Music Archive (http://www. Varèse, are also present. It is thus an of Music History – particularly and exchange. Their management and openmusicarchive.org/) embodies a invaluable educational and scholarly electroacoustic music history. How access strategies therefore vary in relation radically different concept. It was aid – particularly for those whose school have crowd-sourced online libraries to their goals. created by UK sound artists Eileen libraries may not have a physical score, or impacted on electroacoustic music Simpson and Ben White in 2003 as for whom properly scanning an oversized curricula so far, and how in what new 1. Selected comparisons of an ongoing research project to locate, score would be a practical inconvenience. ways will they do so in the future? Most curatorial strategy and maintenance digitize and distribute out-of-copyright importantly, who gets access to these recordings. They specialize in archiving It is worth noting that the owner of the libraries, and how? The politics of What follows is a description of three other contemporary archives, including IMSLP decided in 2015 to transform the public repositories for music that each installations with historic materials, or free access forum into a two-tiered access

4747 48 array Featured Article Elizabeth Hoffman 2016/2017 system. IMSLP thus now invites members of these three archives. Anyone may In December 2015, a comment piece uploads after the fact would thus seem to for $22.-/year; non-members can still contribute virtually anything so long as the by Norman Lebrecht initiated a long disregard original wishes, the license still access content, but the trade-off is banner site maintainance specialists do not object discussion concerning this issue. Two applying after the download but not to the advertisements and a 15-second per item on the grounds of intellectual property recurring discussion criticisms seem download itself. download or viewing wait-time. As of transgressions, and so long as the item is particularly significant to me in relation this writing, IMSLP has at least one “non- Music. However, the IMSLP is also the to the questions posed in this article. The As a reader of the blogpost will note, affiliated” portal that does not impose least transparent: no statistics regarding first is the assertion that a co-op has been there are also numerous comments that the download wait for non-members – number of item-by-item downloads are monetized after the fact, and without are not critical at all. Two focus points Canada (PML-CA). The IMSLP is now available from its undeniably massive offering compensation to those who are a defense of the “reasonable” nature run by a company called Project Petrucci archive. In other words, balanced atop played a role in the database creation. of a mere 15-second wait time, and an LLC, of Delaware, NJ, USA; and this the bottom-up processes of curation is an The second is that the monetization interpretation of the monetization itself corporation does encourage monetary evolving top-down political philosophy makes use not only of others’ manual as a creative idea. “Let [the initiator] reap donations. and practice. Despite being wholly labor, but also of their intellectual and the benefit of it.” In sum, a more fine dependent upon its user base, the site does private property – in the latter case this grained analysis of feedback would be 2. A focused look at music access’ not advertise its board meetings externally, was done without their authorization for it required to analyze the demographics of political questions nor does it reveal any other information to be sold. negative, neutral, and positive responders about its long term (and recently devised) regarding IMSLP’s new access policies. The experience of using an online financial plan to which the IMSLP ties Consider a fuller explanation of the platform or service for free, only to have the membership implementation (and, second point. While for public domain 3. Conclusion this use subject to restrictions or controlled implicitly perhaps, the incorporation). components the contributions by via managed access, is a familiar one with Looking into the future, a researcher of volunteers are 1) their time and 2) This article has sought to ponder the contemporary digital media. Such ‘bait models for community repositories might their property, i.e., their digital files; politics and philosophy of preservation and switch’ business models succeed on reasonably ask the following: Does a for new music, the contributions are goals and access in public repositories, the basis that users have already invested Digital Music site initiator or manager intellectual property that has been ceded beyond the explicit or implicit social and time and resources into a particular have an obligation to the user community to IMSLP “to use … in a manner economic choices that regulate them. database, and so will grudgingly accept to ensure perpetuation of the site beyond similar to a work in the public domain.” These choices contribute to the shaping the shift in access model – but what are some theoretical point of the initiator’s (This is the IMSLP’s stipulation for any of our contemporary digital life – they the politics of this shift when the content personal interest or capacity? And is such contributions.) impact us as a professional community, is created by users themselves? The an obligation based on: the length of as individual composers, and as non- evolution of the IMSLP’s access policies time that the site has been in operation? New music on IMSLP, including the specialist users. Through the mediation prompt such consideration. The size of the user base? The nature category of arrangements, is often tagged of public repositores, new notions of of the content in relation to cultural or with greater license specificity than is the authorship, ownership, authenticity, The IMSLP’s maintainance itself is scientific knowledge? Finally, what are public domain repertoire. For instance, access, canonisation, and value systems communally based, or ‘bottom up’. the implications of a public respository a “Creative Commons Attribution- are being imagined and implemented. Since there is no centralized curation it is becoming privatized? Non-commercial No Derivatives 3.0” Can privatized sites retain their arguably the most democratic repository provision is common. Monetizing these commitment to the ideologies of openness

49 50 array Featured Article Elizabeth Hoffman 2016/2017 and knowledge sharing that characterised the sites when they were public, or are appeared last year: http://imslpforums. they being fundamentally transformed? org/viewtopic.php?f=1&t=8187 [site accessed 2/6/16 - 6/7/16]. Digital music archives now reach millions 2. “Musicians are made to wait as free of diverse users across the globe. How score site goes pay-for”, attracted a large users respond to particular digital archive number of comments early on (the article models will have profound impacts on how and its discussion thread may be read in the archives persist and evolve. This in full, here: http://slippedisc.com/?s=music turn will impact on how we teach music ians+are+made+to+wait&submit=search courses, how we program concerts, and how we define and tell our histories (as well as Herstories!) Music repositories can contribute to the redefinition of expertise, as less advantaged individuals are granted access to resources that were previously reserved for the wealthy or those with institutional affiliations. Do private access models undo some of the good work achieved by peer-produced models like Wikipedia, or do they improve these services?

Communal archives offer remarkable opportunities for musicians. They have the potential both to educate and to encourage independent thought, cultivating users as cultural participants, social activists, and consumers. What better way to reactivate concert audiences than to encourage online outreach, participation, and cultural engagement?

Footnotes

1. A discussion thread at this link

51 52 array Concert Reviews Eric Lyon 2016/2017 Adam James Wilson. The inaugural EIS computer music, which often had a large fast CPU speeds enabled a transition from took place at New York City College improvisational element. Notably, most MIDI (and the relatively unadventurous The First NYC Electroacoustic of Technology on February 27th, of this work was centered around the sounds provided by commercial digital Improvisation Summit, 2016. The focus of this summit was affordances of the MIDI protocol, which ), to live digital synthesis, New York City College of instrumental improvisation in interaction allows for organizing musical structure at where the accumulated power of Technology with computer systems that themselves the note, harmony, melody, rhythm, and computer music research into audio DSP provided improvised structures and signal instrument level, but affords little control could be increasingly leveraged into live Thursday 27th Febrary, 2016 processing. over sample-level DSP. computer music performance, which often had a significant improvisational by Eric Lyon The role of improvisation in computer At the same time, there was an intense element. At the same time, as I’ve argued music has an interesting history. We focus on developing the possibilities of elsewhere,2 computer musical timbre For a while now, mainstream computer define computer-based improvisation as DSP in mainstream computer music research seems to have hit a plateau in music conferences such as the ICMC have music in which the computer improvises during the 1970s and 1980s, resulting the 1990s, creating space for a redirection faced a curatorial challenge, as computer or responds to the improvisation of a in important breakthroughs such as of computer music research efforts music has become increasingly varied in performer in real-time. Different inputs Frequency Modulation, LPC, and FFT- that, I believe, still remains to be fully its and has achieved near ubiquity lead to different outputs, which is sharply based processing. So there was a kind acknowledged and acted upon. One such in its means of production. It has become distinguished from the “instrument and of bifurcation for a time in computer space is computer-based improvisation, difficult to highlight a particular research tape” model in which the output from the music between non-real-time, composed, which brings us back to the EIS. agenda or compositional direction at these computer is fixed and irrespective of the DSP-focused music, and real-time, events because the conference is quickly musical behavior of the live performer. improvised, musical pattern-based music. While electroacoustic improvisation swamped by the sheer variety of research The slow CPU speeds available when However even as early as 1980, one can is not necessarily limited to computer directions in play. While the resulting wrote the first acoustic see a trend toward increasing interest in music, at the 2016 inaugural edition of smorgasbord of ideas and music, along compilers at Bell Labs during 1957-1966 live, microprocessor-based music, when EIS, a decision was made to program with an essential community-building precluded computer-based improvisation. reviewing the titles of the papers from the exclusively computer-based improvisation. aspect, ensures the importance of the Instead, a compositional framework 1980 ICMC.1 This curatorial decision led to a focused ICMC and similar conferences for the for computer music was established program of improvisational computer foreseeable future, it is now largely the in which music is programmed and In the decade of the 1980s, arguably music works that demonstrated a broad role of smaller events to bring focus to compiled to a fixed medium outside the most ambitious computer music range of musical expressivity, while thematic directions of particular interest. of real-time. As microprocessors and improvisation project was George Lewis’s validating the proposition that computer- personal computers became available in Voyager (1986-1988), which features a based improvisation is a musical category This curatorial impetus has been met the 1970s, ensembles such as the League computer-based, improvising expert worthy of attention. admirably well by a new event called of Automatic Composers began to create system that analyzes and responds to the New York City Electroacoustic live, improvised, networked computer live improvised input from human Chapman Welch’s 500 Great Things Improvisation Summit (EIS), conceived of music performances. The publication performers (or even from itself). As the about Wichita, performed by Brandon and directed by Kevin Patton and of the MIDI 1.0 standard in 1983 1990s progressed, a couple of important Bell, commenced with vigorous on- greatly accelerated exploration of live transitions occurred. First, increasingly body percussion strikes on chest and

5353 54 array Concert Reviews Eric Lyon 2016/2017 legs, which was quickly joined by a which the violins are processed. During Land. delicate, computer-generated harmonic the sound check, Kevin Patton performed EIS, Patton and Wilson have provisionally accompaniment. The work then my part on violin so that I could listen Tattoo of a Gesture by Margaret Schedel validated their proposition. They now face transitioned to a series of short sections, from the main hall. His improvisation stood out at in its use of a printed score a wealth of possibilities to explore in the each characterized by performance was intense, and also quite different than that integrated both textual instructions next EIS. Will the range of electroacoustic on a single percussion instrument with mine, or Kim-Harris’s. This suggests and precisely notated rhythms. improvisations be broadened beyond autonomous computer-generated the intriguing possibility that at another Christopher Howard contained the computer interaction to embrace accompaniment, based on live sampling electroacoustic improvisation summit, manic expanse of composer-provided analog electronic systems? Will invited of the percussionist. The eloquent and performers need not play their own pieces, possibilities within a taut, obsessively musicians workshop their systems for structurally convincing decisions made by but rather could swap into performing controlled, and increasingly virtuosic the public? Will members of the public Bell, combined with the freedom afforded through someone else’s system. performance. While computer processing have an opportunity to experiment with by the improvisational context, made this was clearly audible, particularly in live featured improvisation systems? Will the a lovely and satisfying musical offering. A Bird Escaped From the Snare of its Fowler filtering of drum sounds, the main sonic performances be broadcast to the Internet, by Kevin Patton and Nikki D’Agostino focus was on the percussive sounds or archived online? Will telematic Clip Mouth Unit, a duo project of Dafna combined D’Agostino’s hyper-intense produced by Howard. improvisation be incorporated? Will Naphtali and Jen Baker performed with saxophone playing with a more deliberate improvisation systems with no humans in a high-energy mix of Baker’s trombone music coaxed from the computer by Solo for Voice and Computer composed and the loop be presented? Patton and Wilson interjections and Naphtali’s intense yet Patton, based on real-time analysis of the performed by Paul Botelho reminded of have already made a serious contribution urbane vocal stylings, combined with saxophone performance. D’Agostino’s what an incredibly intimate instrument to computer music with their first EIS. varied and unpredictable computer- improvisation had some fine lyrical the human voice can be. In this delicate It will be quite interesting to see what generated textures and live processing of moments that nicely balanced the initial improvisational duet, Botelho seamlessly direction they choose with the next one. the acoustic sound, all presented with a mode of intensity that dominated the merged his live voice, an exquisite comic’s madcap sense of timing. Despite a performance. countertenor, with a live-generated texture Notes wide range of surprising musical swerves, built from sampling of the voice, and the performance never lost focus. Eighteen Eighteen performed by Adam James initiated by interactions with his laptop 1. http://quod.lib.umich.edu/i/icmc/ Wilson and Arto Artinian unleashed computer keyboard. Botelho cannily bbp2372.1980?rgn=full+text My Parallel Noise Construction was composed frenetic, heavy rock stylings performed by integrated expressive physical gestures for the new music violin duo String Noise. Wilson on electric guitar, and an intense into his performance, particular of the 2. https://www.researchgate.net/ One of the violinists, Conrad Harris, was keyboard backdrop performed on Haken hands and arms, making his occasional publication/298981852_The_Future_of_ out of town, so I performed his part, with Continuum by Artinian, all mediated by human-computer interactions seem Spatial_Computer_Music Pauline Kim Harris on the other part. an oracular listening and improvising completely natural. The expressivity of The work is a noise-driven improvisation program written by Wilson. At times the performance seemed both the point, in which a program generates dual sets of during the performance when a spooky and completely impossible to notate. improvisational performance instructions, third voice hovered, I was reminded of the while also randomly assembling different mysterious third that walks always beside Through the aesthetic success of the first signal processing algorithms through you, as described in T.S. Eliot’s The Waste

55 56 array Concert Reviews Lauren Sarah Hayes & Jonathan Higgins 2016/2017 of the control systems which forced theatre became unintentionally animated. Notes Henke to create his own software in order Similarly, there were a few moments 1. http://roberthenke.com/interviews/ ICMC 2016 Concert Reviews to achieve his artistic goals; the limitations where the trajectory of a moving line bio.html Utrecht, The Netherlands of our perceptive capacities and sensory appeared to jump off the bounded canvas systems; and perhaps the limitations onto the nearby wall, allowing me to 2. See: Garton B. 1994. Why I Hate Thursday 15th September of working with a technology often speculate on the agency of the instrument Concerts. ARRAY: the Quarterly Robert Henke - Lumière II.2 awkwardly associated with trance clubs itself. Publication of the In-ternational TivoliVredenburg Grote Zaal and laser harps. Computer Music Association, Summer 21:30 - 22:30 Henke’s music is described as ‘on the 1994. http://sites.music.columbia.edu/ We were guided through an audio-visual edge of contemporary club culture’ [1], brad/writing/papes/Why_I_Hate_ by Lauren Hayes Euclidean topology of points and grains, yet when the -flavours appeared Concerts.html lines and waves, planes, Bowditch curves, in the music, I wondered about another Lumière II.2 is an evolving piece, composed and symbolic signifiers, which further limitation: the limitation of the concert Pandora Concert 2 in hardware and software, heard in sound, developed out of the bounds of the hall which forces its audience to forego Tuesday, 13th September 2016 seen as light, and played out over dozens screen into three dimensional constructs the shared participatory experiences TivoliVrendenburg Pandora of performances in sites that range from and columns (made visible by the use of of moving bodies. I think back to the 19:00-20:30. castle courtyards to industrial spaces. The smoke). The monochrome palette grew inspired choice to feature a standing- work is synæsthetic – at least in metaphor into an array of colours, culminating in only performance from Luke Abbott at by Jonathan Higgins – by not quite producing involuntary a striking red circle which was stamped the Sonorities Festival of Contemporary experiences in a secondary modality, but emphatically on the screen with a suitably Music at SARC, Queens University Pierre Alexandre Tremblay’s offering beautifully coupled audio-visual cinematic accompanying sonic gesture. Belfast in 2013. When Henke offered the asinglewordisnotenough1 opened this phenomena. At ICMC 2016 this took The suggested interpretations of this audience an improvised encore, he finally packed evening concert with a bang. A place inside the Grote Zaal, being the moment from the audiences members I gave us permission to move around and cacophony of lilting rhythms bounced only performance of the conference held spoke to afterwards were both visceral and also take recordings on mobile devices. Of around the speakers to great effect before in TivoliVredenburg’s grandest space. colourful. course, allowing the latter during Lumière- subsiding into a softer synthetic drone. proper would have disrupted the efficacy As the drone progressed, bass stabs The theme of ICMC 2016 was ‘Is the With limitations come boundaries and of the visual presentation, but witnessing reminiscent of the opening rhythms Sky the Limit?’ and Robert Henke edges, at and around which perhaps the audience members change vantage points, began to develop alluding to a return of introduced Lumière II.2 with a discussion most interesting situations can occur. crowd around Henke’s table to peer at his this material. Although this return was of the role of limitations within his own Aside from the impressiveness of the screen, and quietly yet excitedly converse anticipated, when it happened Tremblay creative practice. In this case, these were rigorously constructed audio-visual with one another suggested that we can still managed to catch me off guard and the limitations of the technology; the material that was presented to us over the continue to push the boundaries of how the overall effect was incredibly satisfying. limitations of what can be achieved with a course of the piece, I was drawn to the we present computer music “without the given number of lasers; the limitations spill of the laser projections onto some stultifying trappings of concert society” The next piece, dototo.006 by Masatsune of the stage lighting above the screen, [2]. Yoshio, was fantastically spatialised, where the quietly dormant objects of the enveloping the audience and filling the

5757 58 array Concert Reviews Lauren Sarah Hayes & Jonathan Higgins 2016/2017 concert hall. Despite the density of the waves, the sound materials interacted in nature. However, despite this the sound materials, particular sounds clearly transforming each other to create sonic performance purveyed a clear sense of occupied their own spaces within the ripples. Starting off with relatively sparse form with sonic materials developing, room. Although at times the heavy use of sounds the piece built in density over evolving and interacting throughout granulation did lend itself to technological time as more materials were transformed. the duration of the piece. A wash of listening. Overall, the gradual fluctuations The composer was unable to attend and hypnotic FM bell arpeggios and wonky within these granular textures were as such the piece was not diffused. This evolving beats worked in tandem with the excellently crafted and fascinating to listen was unfortunate as the piece would have psychedelic visuals to create a relaxing yet to. benefitted from being able to ripple across brilliantly engaging performance. the space. Taking the audience on a journey, Yu- In stark contrast to the relaxing Versum, Chung Tseng exploited the plasticity The keynote speaker Åke Parmerud Thomas Ankersmit’s Homage to Dick of recorded sound in Between Points. closed the concert with La vie Mécanique. Raajmakers was a brutal barrage of Expertly blending a series of eclectic Despite having been written in 2004, the harsh noise. Screaming high pitched sound materials together, Tseng’s work piece felt just as fresh and exciting as the drones punctuated with deep analogue felt reminiscent of montage soundscaping. other music on the programme. The piece thumps left half the audience running Each material merged seamlessly into focused on driving rhythms which built in for cover within the opening minute. The the next, creating an ever evolving sound complexity over time. At times the rhythm audience that remained were treated to world. Between Points was a fantastic would drop away before coming back full a highly disorientating, exhilaratingly piece both musically and technologically. force, a technique similar to those used in masochistic experience. Occasionally the electronic dance music. Parmerud defused bombardment would subside into brief Przypadek by Michael Lukaszuk placed the piece magnificently and he was nearly moments of respite. These were in many every day sounds like crisp packets and as exciting to watch perform as the piece ways the tensest parts of the performance, fizzy drinks being opened within an was to listen to. leaving you wondering with a mix abstract computer generated sound world. of excitement and dread about what Ambient metallic melodic fragments Tuesday, 13th September 2016 would hit next. The piece ended with washed across the concert hall, gradually Off-ICMC Ankersmit leaning over and switching off building in rhythmic density to create TivoliVredenburg Cloud Nine his equipment mid drone, the ensuing undulating textures. The piece was very 23:00-00:00 silence pressed on the ears before the well diffused with sounds seemingly audience erupted into a well deserved moving upwards as they progressed giving Tarik Barri opened the concert with round of applause. Thomas Ankersmit’s the piece a terrific sense of height. Versum; a synaesthetic audiovisual journey performance was captivating and his through a virtual universe of his own control of the Serge modular synthesiser The penultimate piece was Drops design. Creating and exploring planets was nothing short of masterful. The and Ripples in Spacetime by George and stars within the universe on the fly, the Homage to Dick Raajmakers was personally Nikolopoulos. Inspired by gravitational performance was improvisatory in nature. my favourite performance of the week.

59 60 array Book Review Laurie Radford 2016/2017 engagement with the computer music media. Unfortunately, the single reference academic and home studio experience community. His tutorial page begins with to these resources is to emf.org which of the 1990s and 2000s. As such, new Book Review this statement: ‘These are tutorials I have no longer handles audio sales. A better practices such as DIY, circuit breaking, written over the years for various courses choice might have been electrocd.com and telematics performance that have Peter Elsea in Max. These papers are usually written which provides an extensive offering of emerged during the publication of the The Art and Technique of in a hurry, so errors inevitably creep in. historical, recent and new electroacoustic text are not considered. Electroacoustic Music [Heck, errors are inevitable in papers releases. The author identifies a number A-R Editions Inc. 2013 written slowly, and things like books of target readers for the book and by The book offers 19 chapters that cover which get reviewed dozens of times before doing so provides a good indication of six areas, including: Building the Studio, by Laurie Radford publication.]’ One is advised to keep this the objectives, contents and the strategy Fundamental Concepts and Techniques, statement in mind when reading through of presentation: composers wishing to Music Store Electroacoustic Music, A-R Editions’ Computer Music and the 500+ page The Art and Technique of move beyond pre-packaged sounds and Synthesis, Research-Style Synthesis, and Digital Audio Series has provided many Electroacoustic Music as some errors have production environments, who strive Live Electroacoustic Music. Building titles over the past decades that focus on indeed “crept in.” to expand their skills to incorporate the Studio opens the text with a general computer music analysis, composition advanced and powerful recording overview of the main considerations and research. Many of these titles In the Preface, Elsea chastises other and sound transformation/generation in creating a suitable environment for continue to serve as important study books about electronic music and audio techniques, and who wish to develop electroacoustic music production. One guides and reference. Peter Elsea’s 2013 production for their exclusive coverage of their technical and musical listening finds this type of introduction at the contribution to the series, The Art and science and technology. Yet, The Art and skills. Therefore, it would have been beginning of many books on audio Technique of Electroacoustic Music, adds a Technique of Electroacoustic Music focuses beneficial to provide some guidance to the production and sound recording and it title that attempts a broad overview of almost exclusively on the ‘technique’ in practitioners and the work accomplished is an important area to explore in such the concepts and technologies employed the book’s title with little discussion of in electroacoustic music (in an appendix texts, especially those that are targeted in electroacoustic music production and ‘art’, little mention of the composers or as part of the Resources for Further at the self-learner. In this case through, performance. Elsea is well known in the and practitioners that work with the Study), especially given the author’s there are terms such as ‘band-limited’ Max world for his widely read MaxMSP techniques covered, or representative identification of a potential self-learner and ‘scrub’ that are introduced in this first and Jitter tutorials and for his LObjects repertoire and performances that they readership for the text. chapter that are not explained in sufficient collection of Max objects.1 He is also produce. The book resembles a lab depth until later chapters, a fact which known to more than three decades’ manual and covers an enormous breadth In addition to providing a compendium reduces the effectiveness of the immediate worth of students as Director of the of material. Perhaps the ‘art’ referred to of diverse information and guidance discussion and may even cause some Electronic Music Studios at the University here is that of the apprenticeship and for conceptual and technical issues in confusion for those employing the text as of California, Santa Cruz from 1980 to mastery of a technological skill set as an electroacoustic music, the book also serves an introduction to the discipline. Another 2013. A visit to his (retirement!) webpage art unto itself ? The author provides some as an illustration of Elsea’s pedagogical example is this statement in another provides a glimpse into his teaching justification for this by stating that most method(s) in the area with his ‘custom early chapter: ‘many of the features in activities, research and compositional of the repertoire of electroacoustic music textbooks for each course’ clearly serving professional-grade mastering applications output, and a sense of his personal is available online or via some available as the foundation of many chapters. It are not essential to composition’. media. Unfortunately, the single reference also, for the most part, represents the Mastering is never again mentioned in the

6161 62 array Book Review Laurie Radford 2016/2017 the book. The assumption that a neophyte in fact discussing. Then again, it could be of these ill-defined terms will serve the of a MIDI-enabled environment. The reader will understand what is meant by read as an attempt to cover the range and same purpose now.) The tutorial origins discussion of various aspects of MIDI ‘composition’ (later referred to as ‘pure breadth of practices gathered under the of some of the texts include step-by-step messages and routing could have benefited composition’) is also problematic given electroacoustic banner, to erase the lines instructions for software interface use. from the typical schematics for clarity, that the concepts of sequencer/loop style between genres which in fact currently At a time when young and new users are and the discussion of hardware versus mixing techniques on one hand and sound employ many of the same software and reasonably adept at the use of computer software synthesizers takes a disconcerting exploration, montage and transformation hardware tools. interfaces in general, the plodding nature turn when plugin synths are introduced on the other are mentioned in passing of some of these instructions (i.e. a without any explanation of what they are early on in the text without clear historical Part 2 consists of a series of chapters lengthy, step-by-step guide of how to use or how they function. or social definitions. that serve as introductory guides to a transport control on an audio recording working with sound. These cover the application) seems unnecessary. A concise chapter on Samplers offers an This calls into question the intended basics of acoustics, sound recording, introduction to the historical origins of genre of music making under discussion sound processing, audio mixing and Part 3 and 4 of the book cover a variety sampling instruments and many of the and the target audience for the book. On useful references to general compositional of software and synthesis concepts and conventional parameters and functions one hand, the compositional exercises applications of some of these concepts make a distinction between ‘Music Store’ that have been implemented in these and suggestions seem to assume an and techniques. Components of and ‘Research-Style’ modes and cultures instruments over the years. Two topics exploratory avenue of creative work as sound, recording technologies and of technology-based music making. The that receive extensive discussion and a norm. One the hand, the prevalent equipment, audio editing techniques, a Music Store section consists of seven tutorial treatment in this part of the use of conventional pop music terms host of processing types including EQ, chapters covering MIDI, Sequencing book are Voicing Synthesizers and FM and concepts such ‘bass line’, ‘backing compression, reverberation, distortion, Programs, Samplers and a series of Synthesis. The author uses Absynth track’, ‘lead line’, beginning-middle-end, modulation, the digital audio workstation chapters on various synthesis methods. It as an example of a typical softsynth and a prevalent concern for tuning and and audio mixing are discussed with clear is somewhat puzzling that the discussion and discusses its architecture, menus, pitch a well as conventional rhythm in descriptions and ample illustrations for of FM, additive, spectral, granular and oscillators, filters, and envelope generators sequencing, belies a kinship with popular conceptual reinforcement. By necessity, modeling synthesis are housed under in detail but in a general enough music writing and production. (The the discussion of such a great many this Music Store rubric given that all of fashion to be applicable to most other statement ‘in electroacoustic pieces the concepts is introductory; yet they are them originated in, or at least have been synthesizer modules. (As mentioned later concern is usually more about getting clear and orderly in presentation. As highly developed at research centres in this review, the discussion of software pitches to match in the first place’ is with a number of areas in the text, some and were subsequently taken up by and hardware synthesizers, divided puzzling but also revealing in this regard.) terminology, for example ‘dither’, is commercial enterprise for wider exposure into separate non-adjoining chapters The mix of basic sound recording and employed in passing and not sufficiently and distribution. The discussion of MIDI in the book, seems unnecessary and pop music production terminology with defined. This could prove problematic and sequencing in this part of the book is potentially confusing to first-time users.) conceptual and composition advice that for those coming to the discipline for the extensive and covers details of the MIDI FM Synthesis receives the most detailed arises from more exploratory strains of first time and the inclusion of a glossary protocol, typical MIDI studio routings, discussion of any individual topic in electroacoustic music results in a lack of could have solved this issue and provided the main parameters and interface the book. FM is obviously an important clarity in regards to the type of music and a useful reference component for the title. affordances of a MIDI sequencer as well technique in the author’s palette given the sound and music production the book is (That said, a quick online search for most suggestions for efficient and creative use comprehensive and clear presentationof

63 64 array Book Review Laurie Radford 2016/2017 of FM generation, control and use. Yet, practical low end for widely distributed Supercollider, Impromptu, Pd, Csound, Elsea is well known for his MaxMSPJitter the statement that FM synthesis and music is 60Hz’ at a time when current ChucK, and MaxMSPJitter. Most of tutorials that many new (and sampling make up 90% of the synthesized practice in numerous genres of electronic these are only mentioned in passing, often experienced!) users of the software have sound in use today may be true for the music worships prominent compositional in reference to their connection to the visited online for guidance. The chapter latter, but perhaps not so much for the components below that frequency and historical lineage of Max Mathews’ Music on Programming with Boxes and Lines former. Analysis/resynthesis, additive and the market is flooded with affordable series that kick-started music computing in draws upon these succinct tutorials and , phase vocoding and subwoofers; an almost flippant approach the 1950s. The last three programs cited provides a basic introduction to the image mapping techniques for synthesis, to spatial design as an integral component receive a more thorough overview and an program and its basic functions covering as well as physical modeling are only of electroacoustic music (‘pans are set introductory tutorial. The basic functions most concepts and details that a fledgling briefly discussed at this point relegating at the start and seldom moved again’; and syntax of Csound and ChucK are Max user would require to get started. these powerful and by now quite well- [the reverb] control…will probably not discussed and accompanied by ample The substantial changes to the program known techniques to a novel category that move during the mix’); and the inclusion code examples that provide a point of since Version 7 are not reflected in the interested readers will hopefully further of products such as the ‘Walkman’ as entry for those interested in investigating discussion or illustrations given that the explore in other appropriate literature. contemporaneous with the iPod! One these powerful open source programs. reference here is Version 5. Nonetheless, suspects that Elsea was well be aware The author also succinctly covers some the fundamentals of control flow, routing One wonders if parts of The Art and of the period-specific nature of many basic computing concepts (variables, and timing in Max, principles of audio, Technique of Electroacoustic Music will be of these statements given a comment operators, library functions, loops, arrays, recording and synthesis in MSP, and of use in the not too far off future given featured on his website, ‘I use published unit generators, Markov chains, etc.) that ‘A Hint of Jitter’ and interconnections the many technical issues stated as fact texts from time to time, but they become provide a framework for the computing between image and sound provide a rapid that, in fact, are no longer such: the use dated quickly, and of course can’t address skills required to employ these programs. flyover of this paradigmatic composition of Protools (an old version at that) as the the unique aspects of these studios’, and The real-time potential of live-coding and performance environment. paradigmatic example of a DAW given chose to present his tutorial materials in Csound and ChucK is mentioned, the current wide-spread use of many ‘as is’, a testament to his long, dedicated but especially in the case of ChucK, Upon initial reading, it seems somewhat other, more diverse products by younger career to teaching electroacoustic music. greater emphasis and illustration of its puzzling that a chapter on programming electronic creators and performers; the From one perspective then, The Art and live-coding affordances should have been Synthesis in Hardware would follow statement early on in the text that there Technique of Electroacoustic Music acts offered. In addition to the static examples the lengthy introduction of code-based are MIDI sequencers and then there like an auto-ethnography, foregrounding provided, a short example of a live work methods, especially given Elsea’s opening are audio DAWS and that someday they the personality of the author amidst the flow in ChucK could have been included statement: ‘Is hardware dead?’ As noted might be combined when, in fact, this concepts and techniques that he obviously as an example of this growing area of above, a discussion of both softsynths has been the case for most products for cherishes. live electronic music practice. The many and hardware synths could have been decades; the restriction of a discussion online video examples of live-coding in combined and provided a clearer picture of automation to gain changes in a One of the most successful sections of action could have been mentioned since of the commonalities and differences mix without mention of the extensive the book is the introduction to ‘Research- they provide a much clearer illustration between them. And yet, this chapter may affordances provided by automating style Synthesis’ methods including of this practice than anything a mere very well provide valuable advice for many, if not all, parameters of plugin Common Lisp Music, Cmusic, Csound, description can do. exploring the hundreds of abandoned processing; the suggestion that ‘the the Composer’s Desktop Project, Rtcmix, synthesizer and sampler modules that are

65 66 array Book Review Laurie Radford 2016/2017 on offer at low prices at many pawn shops events by audiences all of the world, it is distribution procedures in Max for use in and online second-hand sale services, and difficult to take this view seriously, and performance (once again via MIDI) brings online repository, especially given that that feeds the cyclical, retro phenomenon undermines much of the subsequent the chapter and the book to a close. many users no longer have access to CD/ of current hybrid electronic music practical advice that is offered. The DVD drives. Most chapters conclude practices. The lengthy discussion of the chapter proceeds with a brief survey of The words of wisdom for which Elsea is with suggested Exercises for exploring the Kyma system in this chapter, enhanced by conventional sources of control for live known online (and in the classroom) lose concepts and techniques introduced and several illustrative video documents, serves electronic performance (keyboard, guitar, some of their coherence when combined Resources for Further Study are provided as a representative example of a self- wind, string, percussion) and devotes a in this lengthy and sometimes rambling as a starting point for further reading. contained hardware-based composition mere third of a page to circuit-bending tome. Qualitative observations and system; but the claim that it is used and one page to the world of NIME. critique about products, practices and Returning to Elsea’s webpage statement by most professional electroacoustic A discussion of the author’s teaching concepts remain very personal throughout regarding ‘errors creeping in’ and ‘books composers is exaggerated and misleading. activities employing piezo transducers the text, and draw upon the author’s which get reviewed dozens of times before The space would have been better offers a brief glimpse into the engaging lengthy and intimate experience with publication’, it would have been beneficial dedicated to a discussion of the many and undoubtedly inspiring pedagogical the creative objectives and technologies if A-R Editions had followed this advice to currently available control surfaces and atmosphere he maintained throughout under discussion. That personal touch guide some of the content and discussion tablet-based systems that are fusing the his teaching career. It makes one wish lends an inviting tone to the text, as if by to a more succinct, focused and up-to-date paradigms of software and hardware in that more examples like this, drawn from reading it one can still take a class with state. Nonetheless, with some judicious the studio and on the stage. more than three decades of experience, Peter Elsea! The check list of practical tips and up-to-date guidance, suitable where included in the text. The final for “Putting Your Show on Stage” that supplementary materials and information, The last two chapters of the book chapter provides a cursory survey of concludes the chapter is the advice of an both technical and historical, as well as discuss details and issues regarding several main paradigms of Composing experienced practitioner. links to practitioners and repertoire, The Live Electroacoustic Performance and for Electronic Performance including Art and Technique of Electroacoustic Music Composing for Electronic Performance. classic instrument plus tape, instrument The wealth of audio examples could serve as a principal or reference The first of these begins with a short plus processing, as well as some of the provided on the accompanying DVD text for an introductory undergraduate paragraph implying that the acousmatic practical and notational issues involved. contributes to the usefulness of the text electroacoustic music composition and tradition is a thing of the past and was Some examples of capturing performance for teaching and learning. A variety techniques course or for the self-learner ‘never popular’, and that audiences for data such as pitch and tempo via MIDI for of single sounds, synthesis examples, who wants a bird’s eye view of the electroacoustic music remain few and player control of processing and temporal signal processing examples (including electronic music terrain. lack patience for anything that doesn’t aspects of a performance are discussed video examples of actions in plugins and provide conventional markers of liveness and illustrated. Pitch detection and score- other software interfaces), brief sound Notes in performance. Given the dizzying following functions for live performance etudes, and comparisons of various audio number of electronic and media festivals, are mentioned (with promising recent characteristics and situations are provided 1. See http://peterelsea.com/ acousmatic concerts, emerging live research in these areas not considered), to illustrate examples and discussions maxtutorials.html) electronic music practices, journals and and several examples of employing throughout the text. At this point in time, texts discussing these creative activities, random number generation and the sound and video examples would be 2. http://artsites.ucsc.edu/ems/music/ and the substantial support for these distribution procedures in Max for use in more useful if they were available in an PQE/More_PQE.html

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