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DVD Program Notes Part One: Computer Music 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 France. 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 Iannis Xenakis. 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 (Theremin), 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 Beauty in the Beast, 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- Morton Subotnick. 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 synthesizer. 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 Curtis Roads, 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- 136 Computer Music Journal 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.
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