About This Issue

This issue’s cover theme, “Robot scribes results of an experiment to can yield a sonic collage whose tem- Musicians,” concerns a longstanding evaluate how well the robot emulates poral evolution imitates that of the but frequently overlooked area of a human performance. original. Audio examples, including . The cover of Com- The other article on this theme, by excerpts of a composition by the au- puter Music Journal Vol. 10, Number Gil Weinberg and Scott Driscoll, fo- thor, can be heard on the DVD (and 1 (Spring 1986) displayed an early cuses less on elaborate mechanics more can be found at his Web site). musical robot, the Sumitomo imple- and more on musicianship: Their ro- Our Fall 2005 issue presented an mentation of the WABOT-2 (dis- bot plays a simpler instrument, a article about a visual sound-synthesis cussed further in CMJ 10:2). That drum, but it can improvise based on language called PWGLSynth. keyboard-playing robot, replete with what it hears a human percussionist PWGLSynth is part of a more general a conversation system and a video playing. The robot, named Haile, in- visual environment, PWGL, written camera for optical recognition of teracts with human musicians in six in Lisp. Another component of sheet music, issued from an exten- different modes: imitation, stochastic PWGL, called Expressive Notation sive development project at Waseda transformation, perceptual transfor- Package (ENP), provides a “front University in Tokyo. In more recent mation, beat detection, simple ac- end” in terms of music notation. years, researchers at Waseda have cre- companiment, and perceptual (ENP was mentioned in last year’s ar- ated successively improved versions accompaniment. After describing the ticle, and an example of its use can be of a robot flutist. Like the WABOT-2, robot’s design, the authors discuss seen on the cover of that issue.) In the this robot flutist, which is called the two compositions written for Haile present issue, Mika Kuuskankare WF-4II in its current incarnation, is plus human percussionists, followed elaborates upon the concepts and ca- anthropomorphic in design and func- by a report on musicians’ experiences pabilities of ENP. In general, ENP of- tion: It mimics not just the superfi- of playing with the robot. The article fers deep access to its notational cial appearance of a human, but also concludes with a look to the future of objects, whereas some notation soft- the requisite body parts for flute play- robot musicianship. The DVD that ware tends to treat objects on a more ing (lungs, lips, fingers, etc.). In this accompanies this issue includes superficial, graphical level. For ex- issue, Jorge Solis, Atsuo Takanishi, videos of both the WF-4II and Haile ample, ENP’s scores can be generated and their colleagues at Waseda dis- in action. algorithmically; scores can be auto- cuss the evolution and current design Bob Sturm’s article describes his matically analyzed and annotated; of the robot flutist. To prepare a par- implementation and exploration of custom expression markings can ticular piece for performance, a automated micromontage. His soft- change their appearance dynamically MIDI file of the composition is ana- ware for adaptive concatenative according to the musical context; and lyzed along with an audio recording sound synthesis (ACSS) uses a pre- scores written in the optional propor- of a professional human flutist’s ren- existing sound as a template. A tional (non-mensural) notation can dition of the piece, and control data frame-based analysis of this sound have their notes dragged to any posi- for the robot are generated. The produces feature vectors that are then tion in time, with expression mark- robot then performs the solo part used to retrieve similar frames from a ings following along (instead of a while a MIDI plays the large database of sounds. The con- fundamentally metric approach that accompaniment. The article de- catenation of these retrieved snippets simply hides the bar lines).

Front cover. The two musical ro- Back cover. To generate this anno- nected triangles, circles, and squares bots discussed in this issue: WF-4II tated score excerpt, the Expressive to indicate music-theoretical rela- (left) and Haile (right). Notation Package automatically ana- tionships. See the article by Mika lyzed the music and added the con- Kuuskankare for more information.

About This Issue 1

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2006.30.4.1 by guest on 26 September 2021 This issue’s final article, by Rui tion and noise reduction, and a music former Editor of the Journal, who Pedro Paiva et al., describes a pro- theorist’s book on the perceptual possesses many of the lacquer mas- gram for extracting the melody notes foundations of meter. ters and who facilitated the transfer from an audio recording having both Longtime readers of the Journal of the analog recordings to digital au- a melody and a chordal or polyphonic may recall the vinyl soundsheets that dio expressly for this DVD. James accompaniment. The sequence of op- were bound into an issue approxi- Harley produced the DVD. erations consists of: multi-pitch de- mately annually. Like the later an- The DVD also contains, as scanned tection at the level of 46-msec nual CDs or DVDs, these flimsy images embedded in PDF files, not frames, determination of notes by records provided a means only the original program notes for constructing and segmenting pitch to disseminate compositions and these soundsheets, but also various trajectories, elimination of “ghost oc- sound examples that augmented the feature articles that corresponded to tave notes,” selection of the most Journal’s articles. All the issues con- the tracks. In addition to this histori- salient notes, resolution of temporal taining soundsheets have long been cal material, the DVD includes video overlaps between notes, handling of out of print, and that collection of au- and audio, playable on standalone abrupt changes of register, removal of dio has never before been available in DVD players, to accompany nine cur- accompaniment notes (remaining digital form, except for the tracks rent or recent articles, such as the less-salient or too-short notes), and from Volumes 15–18, which were previous issue’s interview with com- restoration of previously truncated reissued on the Volume 19 CD. We poser Francis Dhomont. Finally, the notes. The authors present their algo- are therefore delighted to announce, DVD-ROM part of the disc includes rithms and then show experimental in celebration of 30 years of Com- the pDM software by Anders Friberg results that evaluate their system in puter Music Journal, that the DVD that was discussed in the Spring is- comparison to others. accompanying this issue includes a sue. For further information, see the The reviews in this issue critique re-release of all the heretofore un- DVD Program Notes near the back of various recent compact discs, two available soundsheet material. We this issue. software packages for audio restora- appreciate the help of ,

2 Computer Music Journal

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Volume 30, Number 4 Winter 2006

Contents

About This Issue 1

Announcements 5

News 8

Musical Robotics The Waseda Flutist Robot WF-4RII in Comparison with a Professional Flutist Jorge Solis, Keisuke Chida, Koichi Taniguchi, Shinichiro Michael Hashimoto, Kei Suefuji, and Atsuo Takanishi 12

Toward Robotic Musicianship Gil Weinberg and Scott Driscoll 28

Sound Processing and Composition Adaptive Concatenative Sound Synthesis and Its Application to Micromontage Composition Bob L. Sturm 46

Music Notation and Representation Expressive Notation Package Mika Kuuskankare and Mikael Laurson 67

Music Information Retrieval Melody Detection in Polyphonic Musical Signals: Exploiting Perceptual Rules, Note Salience, and Melodic Smoothness Rui Pedro Paiva, Teresa Mendes, and Amílcar Cardoso 80

Reviews Publications 99

Justin London: Hearing in Time: Psychological Aspects of Musical Meter John Ashley Burgoyne 99

Recordings 100

Mario Davidovsky: Flashbacks The Music of , Volume 3 alcides lanza 100

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2006.30.4.1 by guest on 26 September 2021 25e Concours International de Musique Electroacoustique, Bourges: Prix Quadrivium Compendium International Bourges 2001 29e Concours International de Musique et d’Art Sonore Electroacoustiques, Bourges: Lauréats du Magisterium et du Trivium Laurie Radford 102

Electric Music Collective: Incandescence Electric Music Collective: Defiant Corey Cheng 106

Music From SEAMUS, Volume 13 rachMiel 108

Joel Chadabe: Many Times . . . rachMiel 110

Richard Karpen: Solo/Tutti Frances White 112

Products 114

Waves Audio Restoration and Noise Reduction Toolkit BIAS Sound Soap Pro Pro-Audio Restoration Software James Harley 114

Products of Interest 121

DVD Program Notes 135

Instructions to Contributors 142

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Happy Birthday, Mathews: playing his own invention, the Radio of Groupe de Recherches Musicales MaxFest, Music, and a Baton. The event commemorates not (GRM) in Paris, is a co-author and ed- Monograph only Max Mathews’s 80th birthday itorial coordinator of Portraits Poly- and a half-century of his work, but chromes: (reviewed in also the 110th anniversary of Henry Computer Music Journal 30:1 [Spring Max Mathews (see Figure 1) is often Cowell’s birth. The Stanford Sym- 2006]). The Portraits Polychromes se- referred to as “the father of computer phony Orchestra (conducted by Sandor ries of books from GRM also covers a music” in recognition of his pioneer- Salgo) had also performed the world number of other important figures in ing research at Bell Laboratories on premiere of Rhythmicana in 1971, computer and electroacoustic music, computer-synthesized musical forty years after it was composed. For including composers Jean-Claude Ris- sound, dating back to 1957. Mr. that performance, Stanford music set, François Bayle, and Luc Ferrari. Mathews, a professor emeritus at professor had simulated Web: ccrma.stanford.edu, www , celebrated his Leon Theremin’s Rhythmicon part on .computerhistory.org, www.ina.fr/ 80th birthday on 13 November 2006. a PDP-10 computer, recorded on tape. grm/acousmaline/polychromes. A day of and panel discus- In the 2007 performance, the Rhyth- sions, titled “MaxFest, Celebrating micon part will be performed in real Max Mathews and the 50th Anniver- time, as Cowell intended. The Rhyth- sary of Computer Music,” will be micon will be simulated in Max/MSP held 29 April 2007 at the Computer International Workshop on and performed by Max Mathews on History Museum, 1401 N. Shoreline the Radio Baton controller. Artificial Intelligence and Blvd., Mountain View, California, Additionally, Évelyne Gayou has Music—Hyderabad, India USA (see Figure 2). Computer music announced plans to release an English- practitioners and the public will be language book on Max Mathews to An International Workshop on Arti- invited to attend this event in honor coincide with MaxFest. Ms. Gayou, ficial Intelligence and Music of a half-century of Mr. Mathews’s contributions. MaxFest is co- sponsored by the Computer History Museum and Stanford University’s Center for Computer Research in Music and Acoustics (CCRMA). The Stanford Symphony Orchestra, conducted by Jindong Cai, will per- form Henry Cowell’s Rhythmicana on 26 April 2007, with Max Mathews

Figure 2. MaxFest will take place Figure 1. Max Mathews, in a photo in April 2007 at the Computer His- taken by Laura Zattra at Bourges in tory Museum in Mountain View, June 2006. California.

Announcements 5

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2006.30.4.1 by guest on 26 September 2021 (MUSIC-AI 2007) will be held in con- tion, and planning. Suggested topics junction with the Twentieth Interna- include sound synthesis and analysis, tional Joint Conference on Artificial formal music analysis, music infor- Intelligence (IJCAI 2007) in Hyder- mation retrieval, knowledge repre- abad, India, 6–12 January 2007. sentation and computational models, MUSIC-AI 2007 is planned to last printing and optical recognition of one full day, and will feature paper music, psychoacoustics and music presentations, panel discussions, and perception, cognitive modeling, aes- open discussions. thetics, philosophy and criticism of With the explosion of music avail- music, adaptive systems and music able on the Internet and, more gener- education, , ally, of music in digital formats, a key interactive performance systems, dig- challenge in the area of musical infor- ital audio signal processing, and soft- mation management is the automa- ware and hardware systems. tion of the annotation, indexing, and The organizing committee for organization of music based on its se- MUSIC-AI 2007 consists of Rafael mantic content. One of the main de- Ramirez and Xavier Serra (Universi- ficiencies in the current music tat Pompeu Fabra), Alan Smaill (Uni- organization and processing systems versity of Edinburgh), and Christina is the existing semantic gap between Anagnostopoulou (University of low-level features or content descrip- Athens). tors that usually can be obtained in Web: http://www.iua.upf.es/mtg/ an automatic manner and the rich- MusAI. ness of musical information. One of the key issues for bridging the seman- tic gap in is the ability to process music based on its ÉuCuE Series XXV, September 2006. This featured five content. Content-based processing is 2006–2007, and Mid-Autumn concert-presentations of “multichan- a well-established term that covers nel and special electroacoustic cre- areas like analysis, indexing, search, Harvest Moon Festival and ativity,” as well as the Butterfly and transformation of audiovisual Conference Installation Instrument, a 10.2 sys- signals. The term music processing tem for installations, live electronics, covers all types of music knowledge The music department of Concordia laptops, etc., in an open public space. representations, including MIDI and University, Montreal, presents the The presented works were placed on score representations. Artificial intel- 15th of their concert series Électroa- the Sonus Web site, www.sonus.ca/ ligence can play a central role in coustiques université Concordia Uni- index.html. content-based music processing. versity Electroacoustics (ÉuCuE). The subject of the conference was The MUSIC-AI 2007 workshop The series has included concerts on “curricular design for electroacoustic concentrates on the topic of content- 11, 12, and 13 October 2006 and on 8, studies.” This topic was based on the based music processing using artifi- 9, and 10 November 2006. Forthcom- following premises: (1) Electroacous- cial intelligence techniques. These ing concerts will be held in February tic studies is a discipline that encom- techniques may include, but are not 2007 on Wednesday the 7th, Thurs- passes the physical, perceptual, and limited to, cognitive modeling, data day the 8th, and Friday the 9th, all at psychoacoustic as well as the cul- mining and classification, expert sys- 8 PM. For details of these concerts tural, creative, and critical world of tems, generative systems, grammars, and ones from previous years, includ- sound from a ; and (2) Ed- fuzzy logic, genetic algorithms, hidden ing the pieces and composers, see ucation for practitioners in electro- Markov models, intelligent agents, music.concordia.ca/EuCuE/Concerts acoustics requires a core knowledge inductive logic programming, knowl- .html. of the entire basis, as well as an or- edge representation, knowledge- The department also hosted the ganization of material and ideas based systems, machine learning, Third Mid-Autumn Harvest Moon found in the more focused subdisci- neural networks, constraint satisfac- Festival and Conference on 20–22 plinary regions.

6 Computer Music Journal

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2006.30.4.1 by guest on 26 September 2021 2007 Santa Fe International The composer-in-residence will be March 2007. Radio broadcasts will Festival of Electroacoustic , the featured com- occur during February 2007. Music poser/performer will be Joan La Bar- SFIFEM has a ten-year history of bara, and the featured composer will presenting cutting-edge international be Diane Thome. More composers electroacoustic music performances, The Contemporary Music Program at and performers will be announced. broadcasts, and installations in Santa The College of Santa Fe (Santa Fe, Live performances are scheduled for Fe, New Mexico. New Mexico, USA) announces the 1–3 March 2007 at the College of Web: pubweb.csf.edu/~smill/ 2007 Santa Fe International Festival Santa Fe. Indoor sound installations SFIFEM.html. of Electroacoustic Music (SFIFEM). will be in place during February–

Announcements 7

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Prix Ars Electronica 2006 vices that allow the audience to expe- also announced at the festival. Prizes Winners rience the message multi-sensorially. were awarded in a variety of cate- (See Figure 1.) gories including formal aesthetics, The winners of the 2006 Prix Ars Ele- Awards of Distinction in Digital programmatic works, music with de- cronica International Competition Musics went to Joe Colley for Psy- vices and/or instruments, electro- for Cyberarts have been announced. chic Stress Soundtracks, and to Kaffe acoustic sound art, works for dance Categories in the competition in- Matthews/Annette Works for Sonic or theater, sound installations or clude Computer Animation/Visual Bed_London. There were also twelve sound environments, and multime- Effects, Digital Musics, Interactive Honorary Mentions in the Digital dia. The full list of winners can be Art, Net Vision, Digital Communi- Musics category which can be found found on the IMEB Web site. The ties, and u19–Freestyle Computing. on the Ars Electronica Web site. Magisterium prize went to Jorge The Goldan Nica winner in the The Prix Ars Electronica awards Rapp of Argentina for his piece Otro Digital Musics category was Eliane ceremony was held during the Ars tiempo, otro lugar . . . . Radigue, one of the pioneers of Electronica Festival, 31 August–5 Web: www.imeb.net. electroacoustic music in the 1950s, September in Linz, Austria, and the for L’ile re-sonante [The Resonating prizewinning works were put on dis- Isle]. This year, the winner of an- play at the OK Center for Contempo- other category also comes from the rary Art in an exhibition entitled SOUNDplay 2006 music community. Paul DeMarinis CyberArts 2006. Web: www.aec.at/en/prix/ took the Golden Nica prize for Inter- New Adventures in Sound Art pre- winners2006.asp. active Art with The Messenger, a sented their Fifth Annual SOUND- piece that transforms email mes- play festival 14 September–15 sages from around the world into October at various locations around three systems of bizarre output de- Synthèse in Bourges Toronto, Canada. This year’s festival included sound sculptures, installa- tions, videomusic screenings, perfor- The Institut International de mances, artist talks, and workshops. Musique Electroacoustique de Highlights include new videomusic Bourges (IMEB) held the 36th annual (nonnarrative video and sound art) Synthèse festival 2–11 June 2006 in from NomIG, Stephanie Loveless, Bourges, France. The festival organ- Cliff Caines, Nelly-Eve Rajotte, and ized concert sessions around themes, François Handfield. The theme of devoting entire sessions to the music “resonance” was explored in sound of Douglas Lilburn, video music, sculptures from Finnbogi Pétursson, young composers, and music for the Mohammed Al Riffai, and Gary silent film classic The Cabinet of Dr. DiBenedetto. Caligari. Other evenings were Web: www.soundplay.ca. arranged by composer nationalities with represented countries including Greece, Russia, Spain, France, Ar- gentina, Chile, and New Zealand. Daytime workshops were also held Sounding Out 3 and included reports on activity in The Netherlands and Argentina, and The third Sounding Out conference a discussion on Chilean composer was held 7–9 September 2006 at the Jose Vicente Asuar. An exhibition new Media Center of the University showcased 50 Years of Electroacous- of Sunderland, England. The confer- Figure 1. The Prix Ars Electronica tic Music in Chile. ence is for practitioners, students, Golden Nica award for Interactive The winners of the 33rd Bourges and academics concerned with the Art went to Paul DeMarinis for The International Competition of Electro- use of sound as communication, en- Messenger. Source: Paul DeMarinis. acoustic Music and Sound Art were tertainment, and creative practice,

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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2006.30.4.1 by guest on 26 September 2021 Figure 2. Jimmy Lakatos, Alex Buton, and Julien Roy of Artificiel performing Cubing at MUTEK 2006. Photo: Miguel Legault.

including radio practitioners, media venues around the city. Workshops JIEM 2006 in Madrid and cultural theorists, games design- and panels, many organized by com- ers, sound artists, filmmakers, histo- mercial music technology companies The Museo Nacional Centro de Arte rians, musicians and composers, such as Roland and M-Audio, covered Reina Sofia in Madrid, Spain, hosted music therapists, commentators, and topics such as Hands-on Mixing and XIII Jornadas de Informática y Elec- critics. Keynote deliveries included A Remixing, Music for Video Games, trónica Musical (JIEM) 2006, a series Presenation of Experimental Radio and Integrating Visuals with Music of workshops, short courses, and con- Works by Ed Baxter, Crossing Be- Performance. certs exploring computers and elec- tween Media: Music, Voice and Im- Web: www.mutek.ca. tronics in music 19–30 June. Among age by Neil Brand, and The New the scheduled events was a talk by Literacy of Sound: A Restrospect and Turkish composer, Alper Maral, on some Prospects by Andrew Crisell. electroacoustic and computer music Web: www.soundingout in Turkey, as well as presentations by .sunderland.ac.uk. North Carolina Computer Music Pablo White Sotuyo, Ramón Gon- Festival zález Arroyo, Chris Chafe, and others. Web: cdmc.mcu.es/esp/ The third North Carolina Computer curso306.htm. MUTEK 2006 Music Festival took place 27–28 Feb- ruary 2006 at the State University The 2006 MUTEK International Fes- under the direction of Rodney tival of Music, Sound, and New Tech- Waschka. Works by guest composers Festival of Mixology nologies was held from 31 May–4 Thomas Clark, Beth Weimann, Stan June 2006 in Montreal, Canada (see Link, Jeff Herriott, and Raoul Mata Roulette presented Festival of Mixol- Figure 2). Over 70 electronica, glitch, highlighted the festival, which also ogy! New and Unusual Uses of Tech- rave, techno, noise, and other kinds included pieces by , nology in Music and Intermedia Art of sonic artists and explorers were in- , and others. The festival on 5–11 June at Location One in New vited to participate in the festival also featured dances to computer mu- York City. The curated works ex- that included panel discussions in ad- sic choreographed by Kora Radella. plored the possibilities of technical dition to performance in a variety of Web: www.nccomputermusic.com. and artistic improvisation using new

News 9

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2006.30.4.1 by guest on 26 September 2021 instruments, interfaces, and combi- SoundAsArt at the University of Memphis on 2–4 nations of media where sound and November 2006. The festival pre- image manipulate, describe, and The University of Aberdeen, Scotland, sented a broad array of electroacous- metaphorize each other. hosted a conference, SoundAsArt :: tic styles and genres including Web: www.roulette.org/events/ Blurring the Boundaries 24–26 No- computer music, modular synthesis, mixology.html. vember 2006. Presented by the artist experimental, musique concrète, im- group urbanNovember, the festival provisation, video, multi-media, am- targeted the exploration of the blurred bient, and others. The festival guest boundaries between the disciplines of composer was Russell Pinkston, Pro- SoundaXis sound art and video, sculpture, and fessor of Music Composition and Di- architecture. Paper presentations, in- rector of Studios at From 31 May–11 June, New Music stallations, sound sculptures, and The University of Texas at Austin. Arts Project in Toronto presented sound walks were organized for the soundaXis 2006, a city-wide festival festival. Scheduled speakers included celebrating music, architecture, and Jonty Harrison, Rajesh Mehta, and acoustics. Timed to coincide with a Bill Thompson, and sound artist and Cut and Splice: Acousmonium burst of architectural development in conservationist Tony Whitehead led the city of Toronto, the festival in- a sound walk. The 2006 Cut and Splice festival was cluded concerts, film, sound installa- Web: www.urbannovember.org/ hosted by the Sonic Arts Network tions, symposia, panel discussions, conference/index.php?cf=2. and the BBC at the ICA in London on and exhibits, and was thematically 5–7 May. The festival brought the 80- based on the architect and composer, loudspeaker Acousmonium, devel- . The festival activities oped at the GRM labs by François included Sound Travels: Power of Visiones Sonoras 2006 Bayle in the 1970s, to London for Space, a concert of works by Iannis the first time in its 30-year history Xenakis, Barry Truax, and others us- The Dirección General de Música of (see Figure 3). ing a new 12-channel spatialization the Universidad Nacional Autónoma Among the pieces presented were system at the Ontario College of Art de México hosted the Second New François Bayle’s L’Expérience Acous- and Design. The Goete-Insitut in Technologies International Music tique, and a world premier of Field by Toronto presented screenings of Festival: Visiones Sonoras on 20–23 Zbigniew Karkowski. The laptop artists including a Canadian premiere September. An international selec- group, The Lappetites, performed Ele- of 108-Walking Through Tokyo by tion of composers was invited, in- mental by Eliane Radigue. The three- Sarah Peebles. Synthecycletron by cluding Hans Tutschku, Pauline day festival also used the ICA bar as a Barry Prophet, a pedal-powered sound Oliveros, Lukas Ligeti, Tae Hong venue for late night listening and DJ sculpture with electronic compo- Park, Erdem Helvacioglu, and Daniel performances. nents in a tower structure controlled Schachter. Participation was compet- Web: www.sonicartsnetwork.org/ by handlebar sound controllers, was itive, with a jury selecting twenty cutandsplice/index.htm. also on display. Another interactive composers for performances. The fes- sound sculpture by Sandor Ajzenstat tival was also the occasion for award- was shown at the MaRS Centre Audi- ing the First Electroacoustic Prize torium. The Arraymusic Ensemble “Visiones Sonoras” sponsored by the Rainforest IV Workshop presented a newly commissioned Clinker Foundation. work from Virtual Reality pioneer Web: www.visionessonoras.org. A refurbished barn on Leopard Frog Jaron Lanier, and a piece by interdis- Farm in Ontario, Canada was the site ciplinary artist Zack Settel. of a ten-day workshop celebrating Web: www.soundaxis.ca. David Tudor’s Rainforest IV and the Imagine 2 30th anniversary of Tudor’s perfor- mance group Composers Inside Elec- Imagine 2, a three-day electroacous- tronics on 20–31 August 2006. Ten tic music festival, was presented by participants with seven facilitators the Rudi E. Scheidt School of Music including Tudor friends, colleagues,

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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2006.30.4.1 by guest on 26 September 2021 Figure 3. The Acousmo- nium in London for the Cut and Splice Festival. Source: INA/GRM.

and scholars, worked together on of the Merce Cunningham Dance Festival are now online in MP3 for- building an “electronic ecology” to Company, and Matt Rogalsky, who mat. involved include the realize the classic sound sculpture in- has written about the history of Rain- RCA COSMAC, the ALF, the SSM, stallation. Facilitators included three forest and made new performances of and Hal Chamberlin’s NOTRAN. original members of Composers In- Rainforest I and III. Early synthesized speech and singing side Electronics: John Driscoll, Phil Web: www.mrogalsky.net/RF4. from are also included. The Edelstein, and Ralph Jones. Other fa- complete liner notes with historical cilitators for this workshop were Ron information can also be found on the Kuivila, whose research on David Tu- Web site. dor has included recreations of his Historical Computer Music Online Web: cdmc.mcu.es/esp/ early works, John D. S. Adams and curso306.htm. D’Arcy Philip Gray, who collaborated The recordings from the 1979 LP disc extensively with Tudor as musicians First Philadelphia Computer Music

News 11

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