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About This Issue About This Issue The first article of this issue is an in- smooth transformations such as tim- cast as a continuation of the tale of terview with Gerard Pape, director of bral morphs, spatial movement, and three friends that Peter Desain and the Centre de Cre´ation Musicale Ian- progression from micro- to macro- he penned a decade ago in their arti- nis Xenakis (CCMIX) in the suburbs sound. cle ‘‘Tempo Curves Considered of Paris. Besides composing music, On a related note, timbral morphs Harmful.’’ Mr. Pape works as a Lacanian psy- take center stage in the article by The concluding article, by Keiji choanalyst, and he describes here the Kelly Fitz and his co-authors—al- Hirata and Tatsuya Aoyogi, presents interrelation of these two profes- though here the synthesis technique a project in the formal representation sions. The interview touches on is additive synthesis, employed for of musical structure. The authors’ practical matters, such as how his its benefits as a general-purpose anal- system employs correspondences center obtains funding, but focuses ysis, resynthesis, and transformation they found between the time-span on artistic concerns, such as his in- tool. Specifically, the authors use a reduction technique in Fred Lerdahl terest in setting dramatic texts by variety known as the reassigned and Ray Jackendoff’s generative the- playwrights like Antonin Artaud and bandwidth-enhanced model, imple- ory of tonal music, on the one hand, Samuel Beckett. mented in the software package Lo- and properties of the deductive object-oriented database, on the Mr. Pape has also been working ris. Bandwidth enhancement refers other. Although the article is chiefly with Sinan Bokesoy to create a new to the ability to use noise, not just theoretical, the authors also describe Max/MSP-based compositional envi- sinusoids, as partials. The reassign- sample application programs they ronment called Stochos, which they ment method permits non-uniform implemented that are based on their describe in this issue. This software spacing of time and frequency break- system. facilitates the use of stochastic, cha- points, yielding improved resolution Computer Music Journal always otic, and deterministic processes to and reduced smearing of transients. includes an abundance of material generate events and synthesize tim- The article introduces programming besides feature articles. James bres. The software’s point of depar- interfaces to Loris as well as end-user Dashow, who was interviewed in the ture was the compositional system applications for creating morphs be- previous issue of the Journal, writes Xenakis employed in his composi- tween timbres. a letter to the editor in this issue, de- tion Achorripsis (which Linda Arsen- The final two articles deal with scribing his algorithm for spatializing ault analyzed in Computer Music models of music. The first of these, sound. Csound code is provided. The Journal 26:1). Among other possibili- by Henkjan Honing, discusses math- issue also contains news items of in- ties, the program features cross syn- ematical models of timing—specifi- terest to the computer music com- thesis, granular synthesis, and cally, of the ritardando that munity (which are now being edited dynamic stochastic synthesis a` la Xe- performers often apply to a piece’s by Richard Zvonar); reviews of three nakis’s GENDYN program. The au- concluding notes. Mr. Honing uses a books, numerous CDs, and two soft- thors stress the importance of literary device not often found in ware products; and product an- continuous parameters for effecting these pages: the bulk of his essay is nouncements. Front cover: This graphic offers a vi- Back cover: The upper image shows est in emulating analog synthesis sual analogue to the humorous audio prototype software for editing hierar- through software. In this case, the morph that changes from a trombone chical analyses of music, following manufacturer has chosen a literal tone to a cat’s meow, as described in the generative theory of tonal music imitation of not only a Moog modu- the article by Kelly Fitz and his col- by Fred Lerdahl and Ray Jackendoff. lar synthesizer’s sound, but also its leagues. That morph can be heard in See the article by Keiji Hirata and user interface. (Compare the front a sound example on the forthcoming Tatsuya Aoyagi. The lower image, cover of Computer Music Journal Computer Music Journal DVD (ac- from this issue’s Products of Interest 21:4, Winter 1997.) companying the Winter 2003 issue). section, evinces the continued inter- About This Issue 1 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892603322482466 by guest on 25 September 2021.
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