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DVD Program Notes

Part One: Below is a summary of the sound- Recherche et Coordination Journal Historical Compilation sheets’ contents. More detailed in- Acoustique/Musique, Paris, formation can be found on the . See related article DVD-ROM portion of the disc, which (DVD-ROM: 4-4-Haynes.pdf): includes PDF documents containing “The Musician-Machine Inter- Editor’s Note facsimiles of all the original sound- face in Digital Sound Synthesis” sheet program notes from print issues by Stanley Haynes, reproduced To celebrate the 30th anniversary of of the Journal. To access these docu- from CMJ 4:4 (Winter 1980), Computer Music Journal, the editors ments, the reader will need to place pp. 23–44. decided to reissue, in digital form, the DVD into a suitable disc drive on the valuable analog recordings that a computer, then open the files with had once been published, nearly an- Adobe Acrobat Reader or equivalent CMJ Volume 5 nually, on vinyl soundsheets bound software for viewing PDF files. into early issues of the Journal. The Along with the audio from those 1. An excerpt of Mortuos Plango, first CMJ CD was issued with Vol. 19 early issues of the Journal and the re- Vivos Voco by Jonathan Harvey. and included a compilation of the lated written documentation (“Sound- See related article (DVD-ROM: soundsheet recordings dating back to sheet Examples”), we are also 5-4-Harvey.pdf): “Mortuos Vol. 15. Limitations of space had pre- including a collection of relevant Plango, Vivos Voco: A Realiza- vented releasing a more comprehen- early articles. In most cases, these ar- tion at IRCAM” by Jonathan sive digital archive at that time. The ticles were intended to be accompa- Harvey, reproduced from CMJ shift from CD to DVD occurred with nied by the corresponding sound 5:4 (Winter 1981), pp. 22–24. Vol. 27 (2003), and alongside the examples. The correspondences are 2. Excerpts from Dreamsong by DVD’s potential for including visual indicated in the following table of Michael McNabb, realized at elements came the ability to supply a contents for the soundsheets. Like the Center for Computer Re- much greater volume of data, be it the soundsheet program notes, these search in Music and Acoustics audio and video tracks or computer articles have been scanned and col- (CCRMA), Stanford University, files. Therefore, with Vol. 30, we are lated as PDF files and have been California. See related article able to re-release the material from placed on the DVD-ROM portion of (DVD-ROM: 5-4-McNabb.pdf): all the soundsheets starting with Vol. the disc (thanks to Karl Skene, stu- “Dreamsong: The Composi- 4 of CMJ, when the first audio ex- dent production assistant). Note that tion” by Michael McNabb, re- amples were included with the Jour- all these documents are copyrighted produced from CMJ 5:4 (Winter nal, through Vol. 14. It is our hope by MIT Press. 1981), pp. 36–53. that this compilation will prove a 3. Excerpt from Five-Leaf Rose by valuable resource for historical re- Gary Kendall. See related article search in the field of computer mu- CMJ Volume 4 (DVD-ROM: 5-4-Kendall.pdf): sic. Thanks to former editor Curtis “Composing from a Geometric Roads, we were in some cases able to 1. Two Fantasies on a Poem by Model: Five-Leaf Rose” by Gary make the transfer to digital audio Thomas Campion (1978–1979) Kendall, reproduced from CMJ from the master plates. In other composed by Paul Lanksy and 5:4 (Winter 1981), pp. 66–73. cases, we turned to CD recordings read by Hannah MacKay. 4. Excerpt from Mycènes-Alpha for examples that had subsequently 2. Examples of digital sound syn- (1978) by . been released commercially. And for thesis techniques developed by a few others, we had to make the James Dashow. See related ar- transfer from the soundsheets them- ticle (DVD-ROM: 4-1-Dashow CMJ Volume 7 selves. The audio has not been re- .pdf): “Spectra as Chords” by mastered aside from minimal noise James Dashow, reproduced from 1. Sound examples to accompany reduction to reduce the inevitable CMJ 4:1 (Spring 1980), pp. 43–52. the article (DVD-ROM: 7-1- dust noise from the analog sources. 3. The opening section of Prisms Sundberg-et-al.pdf): “Musical Our intent has been to reproduce, as (1979) for piano and computer- Performance: A Synthesis-by- closely as possible, the original pres- synthesized tape by Stanley Rule Approach” by Johan Sund- entation in CMJ. Haynes. Realized at Institut de berg, Anders Askenfelt, and Lars

DVD Program Notes 135

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2006.30.4.135 by guest on 27 September 2021 Frydén, reproduced from CMJ set, reproduced from CMJ 9:1 CMJ Volume 13 7:1 (Spring 1983), pp. 37–43. (Spring 1985), pp. 11–18. 2. Excerpts (selected by the com- 2. Sound examples from two of 1. Clara Rockmore (), poser) from Any Resemblance is Clarence Barlow’s composi- Nadia Reisenberg (Steinway pi- Purely Coincidental by Charles tions: Çogˇ luotobüsis¸letmesi ano), playing Berceuse by Igor Dodge. and January on the Nile. See Stravinsky. See related review 3. Three excerpts (selected by the related article (DVD-ROM: 9-1- (DVD-ROM: 13-1-Rockmore- editor) from Songes by Jean- Barlow-Kaske.pdf): “A Conver- Rhea.pdf): “Clara Rockmore: The Claude Risset. sation with Clarence Barlow” Art of the Theremin” by Thomas by Stephen Kaske, reproduced Rhea, reproduced from CMJ from CMJ 9:1 (Spring 1985), 13:1 (Spring 1989), pp. 61–63. CMJ Volume 8 pp. 19–28. 2. Five sound examples by Trevor Wishart from Vox-5. See related 1. Eight examples produced at IR- article (DVD-ROM: 12-4- CAM, demonstrating CHANT CMJ Volume 11 Wishart.pdf): “The Composition synthesis. See related articles of Vox-5” by Trevor Wishart, re- (DVD-ROM: 8-3-Rodet.pdf; 8-3- 1. Twelve examples composed by produced from CMJ 12:4 (Win- Rodet-et-al.pdf): “Time-Domain Wendy Carlos, excerpted from ter 1988), pp. 21–27. Formant-Wave-Function Syn- the album , 3. Eighteen sound examples pro- thesis” by Xavier Rodet, repro- Jem Records AUD 200, and the duced by Richard Kronland- duced from CMJ 8:3 (Fall 1984), album Secrets of Synthesis on Martinet, realized on the pp. 9–14; and “The CHANT CBS Masterworks. All examples SYTER processor. They are ob- Project: From Synthesis of the are copyright 1986 by Wendy tained automatically and with- Singing Voice to Synthesis in Carlos. See related article out any a posteriori corrections. General” by Xavier Rodet, Yves (DVD-ROM: 11-1-Carlos.pdf): See related article (DVD-ROM: Potard, and Jean-Baptiste Bar- “Tuning: At the Crossroads” by 12-4-Kronland-Martinet.pdf): rière, reproduced from CMJ 8:3 Wendy Carlos, reproduced “The Wavelet Transform for (Fall 1984), pp. 15–31. from CMJ 11:1 (Spring 1987), Analysis, Synthesis, and Pro- 2. Seven excerpts (selected by the pp. 29–43. cessing of Speech and Music composer) from the tape part of Sounds” by Richard Kronland- Bhakti (1982), for 15 instru- Martinet, reproduced from CMJ ments and tape, by Jonathan CMJ Volume 12 12:4 (Winter 1988), pp. 11–20. Harvey. See related article (DVD-ROM: 8-3-Harvey-et- 1. Two excerpts of the music of al.pdf): “Notes on the Realiza- . The first, CMJ Volume 14 tion of Bhakti” by Jonathan from Touch (1969), was gener- Harvey, Denis Lorrain, Jean- ated on a Buchla 100 series ana- 1. Two excerpts from On Being In- Baptiste Barrière, and Stanley log . The second, visible, Part 1 (1977) by David Haynes, reproduced from CMJ from Jacob’s Room (1986), fea- Rosenboom. See related article 8:3 (Fall 1984), pp. 74–78. tures Joan La Barbara (soprano), (DVD-ROM: 14-1-Rosenboom and Erika Duke(cello), in addi- .pdf): “The Performing Brain” tion to Yamaha digital synthesis by David Rosenboom, repro- CMJ Volume 9 equipment driven by an Apple duced from CMJ 14:1 (Spring Macintosh computer. See re- 1990), pp. 48–66. 1. Eleven examples composed by lated article (DVD-ROM: 12-1- Jean-Claude Risset, realized in Subotnick-Roads.pdf): Bell Laboratories, IRCAM, “Interview with Morton Subot- Marseille. See related article nick” by , repro- (DVD-ROM: 9-1-Risset.pdf): duced from CMJ 12:1 (Spring “Computer Music Experiments 1988), pp. 9–18. 1964– . . .” by Jean-Claude Ris-

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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2006.30.4.135 by guest on 27 September 2021 Part Two: Video and Sound genera, audio feature analysis, or sawtooth, (c) the DPW sawtooth Examples compositional parameters. with the averaged differentiator proposed in the article, and (d) 6. Feedback Study 1. the ideal sawtooth waveform. In addition to the audio tracks of Part 7. Reelback. One, described above, the disc fea- The four examples are heard tures video and sound examples to twice with a pause between the accompany articles appearing in Vol- Cut-ups repetitions. The aliasing is best audible in the case of the trivial ume 30 of the Journal. Where ex- The first two examples demonstrate amples contain more than one sawtooth wave and is com- algorithmic cutters that feed data to pletely inaudible in the ideal element in succession, each individ- control video. They were created at ual element has been encoded as a sawtooth wave. STEIM, Amsterdam, in December 2. A slow sweep up and down in separate chapter, so one may navigate 2003. The third is an exemplar of co- forward and backward through the frequency played with different capture (syncing image and audio versions of the sawtooth wave- examples using the Next and Previ- capture then algorithmic splicing). ous Chapter buttons on any DVD form: (a) the trivial sawtooth, (b) player or remote control. Alterna- 8. Amsterdam 6-2. the DPW sawtooth, (c) the DPW tively, the examples will automati- 9. Duckup. sawtooth with the averaged dif- cally play in sequence with a short 10. Flutestutter. ferentiator proposed in the ar- pause between each. ticle, and (d) the ideal sawtooth waveform. The four sweeps are Generative Graphics heard twice with a long pause between the repetitions. The 1. Video Examples to Accom- These four examples demonstrate aliasing should be very clearly pany the Article “klipp Av: graphics controlling sound, and gen- erative graphics allied to audio. audible because some aliased Live Algorithmic Spicing and components are moving in the Audiovisual Event Capture” by 11. Atari accident. opposite direction in frequency Nick Collins and Fredrik Olofs- 12. Storm. with respect to the fundamental son (Volume 30, Number 2) 13. Correlation Study 1. and its harmonics. This is called 14. Dramatic Study 1. the heterodyning effect. 3. An overtone sweep generated by Live filtering a sawtooth signal using Audiovisual Event Analysis various versions of the digital This example is taken from a live These five examples demonstrate the Moog ladder filter whose reso- show of the authors’ 2004 East Coast technique of on-the-fly event analysis nance frequency is slowly de- USA tour. to segment the audio, with associated creasing with time: (a) the linear video frame tagging. The collected 15. klippav At FFmup. Moog ladder filter (Stilson and linked databases are played back with Smith 1996), (b) the simplified algorithmic composition. nonlinear Moog ladder filter 2. Sound Examples to Accom- proposed in the article (see Fig- 1. Studio Tantrum. ure 16), and (c) the full nonlin- pany the Article “Oscillator 2. Capture Demo 31. ear Moog ladder filter proposed 3. Tickle Under Chin 1. and Filter Algorithms for by Antti Huovilainen in 2004. 4. Revolving-Piano. Virtual Analog Synthesis” by The only differences between 5. Piano Capture. Vesa Välimäki and Antti the three filters are in the non- Huovilainen (Volume 30, linearity. The compromise Number 2) structure shown in Figure 14 of Audiovisual Feedback the article is used for the four These two examples demonstrate 1. One of a C-major scale first-order lowpass filters that closing the cycle of parameter pass- played with different versions of are cascaded. The resonance set- ing. They feature video analysis from the sawtooth waveform: (a) the ting is 95%, and the passband color pickers, motion detectors or trivial sawtooth, (b) the DPW gain compensation is set off in

DVD Program Notes 137

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2006.30.4.135 by guest on 27 September 2021 all cases. The limiting effect of 3. The addition of a low frequency 12. Simulation of an increasing of the nonlinear function de- mono-component sounds like a the impact force. creases the amplitude variations large piece of impacted wood. in the latter two cases. The 4. The addition of a high fre- A crucial aspect of the three examples are heard twice quency mono-component mapping—the tuning with a long pause between the sounds like a small piece of im- repetitions. pacted wood. The pitch of complex sounds still is an open issue. As an approach, we have proposed to tune the impacted Two ways of adding modal sounds by considering the modal 3. Sound Examples to Accom- contributions pany the Article “A Percussive components as a cluster of notes. Sound Synthesizer Based on As discussed in the article, modal Sounds can then be tuned by associ- ating musical chords to sounds. Physical and Perceptual contributions can be obtained in two main ways. The first one consists in These chords are defined by the tonic Attributes” by Mitsuko summing up deterministic compo- notes, the harmonic structures (ma- Aramaki et al. (Volume 30, nents (sinusoidal waves), whereas the jor, minor, 7th, 9th, diminished, . . .), Number 2) second uses narrow band-pass filtered and their inversions. versions of the entrance noise. As a 13. Minor 7, minor/major 7, minor The sound examples included here result, the second approach leads to a have been synthesized in real time, with added 9, minor with better fusion between the noisy and added 4, diminished 7. using the Max/MSP instrument de- the modal parts of the sound. The scribed in the article. sounds below are obtained using five modes. Control of the material Simulation of the material 5. Synthesis signal from the model Morphing effects simulating continu- contribution using the additive approach. ous transitions between two materi- 6. Synthesis signal from the model als can be obtained by interpolating By simply filtering a white noise, using the band-pass filtering ap- the synthesis parameters. These sounds corresponding to impacts on proach. sound examples are currently used in various materials can be designed. neurophysiological experiments to Depending on the evolution speed of study the categorization process of the time-varying filter, the sound Some examples of impacted impacted materials. seems either “metallic” or “muffled.” sounds generated by the model 14. Transition from wood to metal. 1. Strong damping (“muffled” or 7. Complex wooden structure. 15. Transition from glass to metal. “wooden” sound). 8. Glass structure. 2. Weak damping (“metallic” 9. String-like sound. sound). 10. Plate-like sound. 4. Sound Examples to Accom- 11. Bell-like sound. pany the Article “Spectral Anticipations” by Shlomo Effect of modal contributions Simulation of the dynamic of the Dubnov (Volume 30, Number 2) From a mechanical point of view, impact modes are strongly dependent on the 1. Natural sounds from a jungle geometry of the structure. From a sig- The strength of the impact is corre- (see Figure 3). This example, nal point of view, modes correspond lated to the amount of energy given containing a mixture of pitched to mono-component contributions. to the sounding structure. As a con- bird calls and noisy sounds, By simply adding one sinusoidal sequence, the stronger the impact, shows the relation between component to the strongly damped the richer the sound. These dynami- spectral flatness and the IR noise (Example 1), one can either cal characteristics are simulated by measure, where segments with simulate large or small sounding controlling a low-pass filter band- flat spectrum (silences or wide woods. width by the impact force. band noise) have low IR, and

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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2006.30.4.135 by guest on 27 September 2021 harmonic segments have 3. Un autre Printemps (2000), 8. Video Examples to Accompany higher IR. from the Jalons CD (2003, em- the Article “Toward Robotic 2. Cheering crowd (see Figures 8– preintes DIGITALes IMED Musicianship” by Gil 10). This example, containing a 0365). Weinberg and Scott Driscoll simultaneous mixture of hand 4. Vol d’arondes (2001), from the (Volume 30, Number 4) clapping, vocal exclamations, Jalons CD (2003, empreintes and cheering, demonstrates DIGITALes IMED 0365). analysis of the sound by Vector 5. Here and There (2003), from the 1. This example features excerpts IR method that consists of de- Setautres utopies CD (2006, em- from the composition Pow for composition of the sound into preintes DIGITALes IMED the original one-armed Haile. spectral basis functions and IR 0682). 2. “Modes” presents some of analysis of their respective ex- 6. Voyage-miroir (2004), from the Haile’s interaction modes as pansion coefficients. Setautres utopies CD (2006, em- performed in a drum-circle con- 3. MIDI rendition of Prelude in G preintes DIGITALes IMED cert in Jerusalem, Israel, in Major from Book I of the Well- 0682). March 2006. Tempered Clavier (see Figure 7. Brief an den Vater (2006). 3. This example shows an excerpt 13). This example is used to of the most recent performance demonstrate the short-time of Jam’aa, with the fully func- Vector IR analysis method that 6. Video Example to Accompany tioned two-armed robotic per- is used as a measure of anticipa- the Article “Modal Synthesis cussionist, as performed in tion profile in musical signals. for Arbitrarily Shaped Bremen, Germany, in June MIDI playback was chosen to Objects” by Cynthia Bruyns 2006. Jam’aa (“gathering” in Arabic) is an interactive piece ensure that the acoustic signal (Volume 30, Number 3) contains structure due to the for two darbuka players and a robotic percussionist. The com- notes/musical score without ex- The video example demonstrates fea- position builds on the unique pressive inflections caused by tures of the modal synthesis tech- communal nature of the Middle human interpretation. nique developed by the author. The Eastern percussion ensemble, graphical user interface is shown, attempting to enrich its improv- along with the use of a MIDI key- 5. Sound Examples to Accom- isational nature, call-and- board controller to control and trigger response routines, and virtuosic pany the Article “From Wire various parameters for manipulating solos with algorithmic transfor- to Computer: Francis the physical model, with resulting mation and human-robotic in- Dhomont at 80” by Rosemary timbre changes. Mountain (Volume 30, teractions. Haile listens to audio input from each drum and Number 3) detects aspects such as note on- 7. Video Example to Accompany set, pitch, amplitude, beat, and These sound examples are all ex- the Article “The Waseda rhythmic density. Based on cerpted from electroacoustic compo- Flutist Robot WF-4RII in these detected features, it uti- sitions by Francis Dhomont (selected Comparison with a lizes six interaction modes that by the composer). All works are copy- Professional Flutist” by Jorge are designed to address the right Francis Dhomont (SACEM)/ Solis et al. (Volume 30, unique improvisatory aesthetics YMX MéDIA (SOCAN). Number 4) of the Middle Eastern percus- 1. Antichambre (1996), sixth sec- sion ensemble. tion of Forêt profonde, from the This example demonstrates the mu- 4. The “UserStudy” video shows Forêt profonde CD (1996, em- sical capabilities of the Waseda an excerpt from the user study preintes DIGITALes IMED Flutist Robot WF-4RII. The robot per- we conducted to evaluate 9634). forms The Flight of the Bumblebee Haile’s rhythmic perception 2. En cuerdas (1998), from the by Nikolai Rimsky-Korsakov. modeling. Jalons CD (2003, empreintes DIGITALes IMED 0365).

DVD Program Notes 139

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2006.30.4.135 by guest on 27 September 2021 9. Sound Examples to Accom- WindowType: Hann; Matching 7. “Gates I.” Corpus: gate and pany the Article “Adaptive Parameters: Spectral Centroid trumpet recorded by myself. Concatenative Sound ±0.5,% Spectral Rolloff ±0; Op- 8. “Gates II.” Corpus: gate and Synthesis and Its Application tions: Force RMS, Extend trumpet recorded by myself. to Micromontage Com- Matches. 9. “Creatures.” Corpus: various position” by Bob L. Sturm 3. Text ID: Sturm 2006b D2; animal sounds. Name: SchoenbergBraxton_ 10. “Boils and Bells.” Corpus: (Volume 30, Number 4) 2048.aif; Corpus: alto saxo- sound effects from around the phone; SynthWindowSize: 2048; house. This article describes an implemen- SynthWindowSkip: 1024; Syn- 11. “A cappella.” Corpus: royalty- tation of adaptive concatenative thWindowType: Hann; Match- free pop vocal samples sound synthesis (ACSS) and its com- ing Parameters: Spectral positional use in automated mi- Centroid ±0.1,% Spectral cromontage. The author’s software Rolloff ±0.1%; Options: Force takes a pre-existing sound as a tem- RMS, Extend Matches. Part Three: Software Examples plate. This sound is treated as a series 4. Text ID: Sturm 2006b D3; of short frames, and similar frames and Historical Articles Name: SchoenbergBraxton_ are retrieved from a large database of 4096.aif; Corpus: alto saxo- sounds. Concatenating these re- The 2006 DVD includes a DVD- phone; SynthWindowSize: 4096; trieved frames yields a collage whose ROM section. To access the material SynthWindowSkip: 2048; Synth- temporal evolution can more or less contained herein, the reader will WindowType: Hann; Matching closely imitate that of the original need to place the DVD into a suitable Parameters: Pitch 1%; Options: sound. All of the sound examples de- disc drive on a computer. The in- Force RMS, Extend Matches. scribed below (and many more) are cluded software can be transferred to available from the author’s Web site Two examples using a spoken- the computer’s hard drive in order to (www.mat.ucsb.edu/~b.sturm/CMJ2 word recording. The source phrase is access the programs. The documents 006/MATConcat.html). The examples as follows: “Congregation, please be need to be opened with Adobe Acro- found there are in MP3 format. The seated, and open your prayer guides bat Reader or equivalent software for “Text ID” field used below refers to the to the Book of Revelations . . .” viewing PDF files. soundfile nomenclature in the article. Mahler Primates Example (other 5. Text ID: Sturm 2006b C3; examples can be found in the CVM Name: CongBraxton_256.aif; 1. Software to Accompany the directory of the author’s Web site). Corpus: alto saxophone; Synth- Article “pDM: An Expressive WindowSize: 2048; SynthWin- 1. Text ID: Sturm 2006b A1; Name: Sequencer with Real-Time dowSkip: 256; SynthWindow- Control of the KTH Music- MahlerMonkey_1024.aif; Cor- Type: Hann; Matching Parame- Performance Rules” by Anders pus: various primate vocaliza- ters: Spectral Centroid ±0.1, tions; SynthWindowSize: 16,384; Spectral Rolloff ±0.1%; Options: Friberg (in Volume 30, SynthWindowSkip: 1,024; Synth- Force RMS, Extend Matches. Number 1) WindowType: Hann; Matching 6. Text ID: not mentioned in text; Parameters: RMS ±, Spectral Name: CongAnimal_1024.aif; pDM is a MIDI score player that uses Rolloff ±10%; Options: none. Corpus: various animal sounds; the KTH rule system for control of musical expressivity. pDM is an ab- Three examples in which the first SynthWindowSize: 22050; straction in Pd and has been tested five measures of Arnold Schoenberg’s SynthWindowSkip: 1024; Syn- using Pd version 0.38.4-extended- String Quartet No. 4 are synthesized thWindowType: Hann; Match- RC8 on Windows. No other libraries using alto saxophone. ing Parameters: RMS 3%; Options: Extend Matches. are used. It should work on Linux 2. Text ID: Sturm 2006b D1; and Macintosh using the same Pd- Name: SchoenbergBraxton_ Examples taken from the composi- extended version, but this is not thor- 1024.aif; Corpus: alto saxo- tion Concatenative Variations of a oughly tested. It is released under the phone; SynthWindowSize: 1024; Passage by Mahler (CVM) by Bob. L. Gnu General Public License (GPL). SynthWindowSkip: 512; Synth- Sturm. The software and related files are con-

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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2006.30.4.135 by guest on 27 September 2021 tained in a Zip archive that should be Chords” by James Dashow, repro- the Realization of Bhakti” by copied to the user’s hard drive. duced from CMJ 4:1 (Spring 1980), Jonathan Harvey, Denis Lorrain, pp. 43–52. Jean-Baptiste Barrière, and Stanley 4-4-Haynes.pdf: “The Musician- Haynes, reproduced from CMJ 8:3 2. Reproduced Soundsheet Machine Interface in Digital Sound (Fall 1984), pp. 74–78. Program Notes Synthesis” by Stanley Haynes, repro- 9-1-Risset.pdf: “Computer Music duced from CMJ 4:4 (Winter 1980), Experiments 1964– . . .” by Jean- (See also “Part One: Computer Music pp. 23–44. Claude Risset, reproduced from CMJ Journal Historical Compilation,” 5-4-Harvey.pdf: “Mortuos Plango, 9:1 (Spring 1985), pp. 11–18. above.) Vivos Voco: A Realization at IR- 9-1-Barlow-Kaske.pdf: “A Conver- 4-4-soundsheet.pdf: ; CAM” by Jonathan Harvey, repro- sation with Clarence Barlow” by James Dashow; Stanley Haynes. duced from CMJ 5:4 (Winter 1981), Stephen Kaske, reproduced from CMJ 5-4-soundsheet.pdf: Jonathan Har- pp. 22–24. 9:1 (Spring 1985), pp. 19–28. vey; Michael McNabb; Gary Kendall; 5-4-McNabb.pdf: “Dreamsong: The 11-1-Carlos.pdf: “Tuning: At the Iannis Xenakis. Composition” by Michael McNabb, Crossroads” by Wendy Carlos, repro- 7-1-soundsheet.pdf: Johan Sund- reproduced from CMJ 5:4 (Winter duced from CMJ 11:1 (Spring 1987), berg et al.; ; Jean- 1981), pp. 36–53. pp. 29–43. Claude Risset. 5-4-Kendall.pdf: “Composing from 12-1-Subotnick-Roads.pdf: “Inter- 8-3-soundsheet.pdf: Xavier Rodet a Geometric Model: Five-Leaf Rose” view with Morton Subotnick” by et al.; Jonathan Harvey. by Gary Kendall, reproduced from Curtis Roads, reproduced from CMJ 9-1-soundsheet.pdf: Jean-Claude CMJ 5:4 (Winter 1981), pp. 66–73. 12:1 (Spring 1988), pp. 9–18. Risset; Clarence Barlow. 7-1-Sundberg-et-al.pdf: “Musical 12-4-Wishart.pdf: “The Composi- 11-1-soundsheet.pdf: Wendy Car- Performance: A Synthesis-by-Rule tion of Vox-5” by Trevor Wishart, re- los. Approach” by Johan Sundberg, An- produced from CMJ 12:4 (Winter 12-1-soundsheet.pdf: Morton Sub- ders Askenfelt, and Lars Frydén, re- 1988), pp. 21–27. otnick. produced from CMJ 7:1 (Spring 1983), 12-4-Kronland-Martinet.pdf: “The 13-1-soundsheet.pdf: Clara Rock- pp. 37–43. Wavelet Transform for Analysis, Syn- more; Trevor Wishart; Richard 8-3-Rodet.pdf: “Time-Domain thesis, and Processing of Speech and Kronland-Martinet. Formant-Wave-Function Synthesis” Music Sounds” by Richard Kronland- 14-1-soundsheet.pdf: David Rosen- by Xavier Rodet, reproduced from Martinet, reproduced from CMJ 12:4 boom. CMJ 8:3 (Fall 1984), pp. 9–14. (Winter 1988), pp. 11–20. 8-3-Rodet-et-al.pdf: “The CHANT 13-1-Rockmore-Rhea.pdf: “Clara Project: From Synthesis of the Rockmore: The Art of the Theremin” 3. Reproduced Articles Singing Voice to Synthesis in Gen- by Thomas Rhea, reproduced from eral” by Xavier Rodet, Yves Potard, CMJ 13:1 (Spring 1989), pp. 61–63. (See also “Part One: Computer Music and Jean-Baptiste Barrière, repro- 14-1-Rosenboom.pdf: “The Per- Journal Historical Compilation,” duced from CMJ 8:3 (Fall 1984), forming Brain” by David Rosenboom, above.) pp. 15–31. reproduced from CMJ 14:1 (Spring 4-1-Dashow.pdf: “Spectra as 8-3-Harvey-et-al.pdf: “Notes on 1990), pp. 48–66.

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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2006.30.4.135 by guest on 27 September 2021