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founding, this globally established Publications festival’s mission remains the same— we are steadfastly dedicated to the pursuit of the curiosity that is so Robert Reigle and Paul Whitehead deeply rooted in humankind’s nature, (Editors): Spectral World Musics: and we continue to peer intrepidly far Proceedings of the Istanbul into the future. Our immediate objec- Spectral Music Conference tive: to once again foment a fruitful, fascinating dialog at the interface of Softcover, two CD-Audio discs, 2008, art, technology and society.” This is a ISBN 978-9944-396-27-1, 457 pages; praiseworthy mission statement. But Pan Yayıncılık, Barbaros Bulvarı, Ars Electronica’s intrepid peering into 18/4 Bes¸iktas¸ 3435 Istanbul,˙ Turkey; the future with Armageddon exhibits telephone (+90) 212-2275675; fax may have thwarted for the moment (+90) 212-2275674; electronic mail its immediate objective of fomenting [email protected]; dialog. The current reviewers were Web pankitap.com/. sometimes left at a nonplus. And Mr. Fontana’s prize-winning work, Reviewed by Ian Whalley understood as the focal sound state- Hamilton, New Zealand ment of the 2009 festival, suggests that music, for the time being, has This collection is an outcome of not yet recovered from its speech- the Spectral Musics Conference held lessness and articulated a response. at Istanbul˙ Technical University, Or, perhaps its response is to recoil 18–23 November 2003, organized primarily extracts rather than full and to recollect the harmony of the by Michael Ellison, Robert Reigle, works. The second disc, with eight spheres, reviving the atavistic human and Pieter Snapper. In welcoming tracks, has complete works from capacity to become one with the delegates to the University, the co- conference concerts. environment through hearing. One directors of the Dr. Erol Uc¨ ¸er Center Paper abstracts in Turkish are might see the visual art presented for Advanced Research in Music, provided at the beginning of the text as representational (horror scenarios) Professor Kamran Ince and Cihat without an English translation, and and music as evocative (utopia): Big As¸kın noted that hosting the first no abstracts are given at the begin- Ben and the sonic/visual projections international conference on spectral ning of each paper. Papers are divided on the AEC—both took place in music was a long-term goal of the into sections: Introductory Talk; the night, in the locale of wordless faculty (p. xi). Interdisciplinary Panel Discussion; dreams. The skill of hearing—at the A quick Internet search of the Spectral Ideas; Ethnomusicological neuronal level—has always enabled title gives the sense that proceedings Perspectives; Composers Discuss man and woman to meld with their have been distributed to various their Music; Spectral Compositions; surroundings. Man and woman in international music journals, but Performance Perspectives; and Impro- their cave at night, without light there have been few reviews to visation with Spectra. Transcriptions and without sight, were only in touch date; and, there seems to be limited of questions and answers sometimes through hearing, and through hearing, additional copies of the collection follow each paper presentation. “becoming” (to borrow a notion from now available. Without the benefit With no index apart from page Gilles Deleuze), becoming human. of attending the conference, this references to track listings on CD 1, We hope that the cultural utopia review is of the published material no signposting in the body of the text evoked by Mr. Fontana from the alone. as to section divisions, and no English midst of our world’s dark night is The proceedings open with track abstracts, the collection becomes not just sentimental retrospection, listings for the two audio discs in- something of a detective novel to rather a contribution to drawing cluded, followed by written notes of navigate for the uninitiated. us into a new and lighter period uneven length and quality about each Computer Music Journal readers of becoming—humane, humanist, track. The 17 tracks on CD 1 relate will probably be aware of spectral human. to the paper presentations, and are synthesis techniques, or the process

Publications 93 of manipulating spectral data with cluded and discussed along with “art field: Ana-Maria Avarm, Iancu Du- physical modeling synthesis pack- music.” mitrescu, Cornelia Fales, and Tristan ages. More generally, for those un- This inclusive approach brought Murail. The wide-ranging discus- familiar with the field of spectral together a variety of perspectives that sion covers influences on composers’ music, two issues of Contempo- may not otherwise meet, and also en- works, sources and perspectives rary Music Review (19/2 and 19/3, gaged a range of people in an ongoing drawn on, and the significance of 2000), edited by Joshua Fineberg, are interest in continuing academic work spectral music in relationship to worthwhile reading as a primer. In that might otherwise be left to lan- broad scholarly work. Despite the addition, William A. Sethares’s Tun- guish in isolated aspects of academia. seeming lack of focus at times, there ing, Timbre, Spectrum, Scale (MIT The diversity of the outcomes is evi- are keen insights here, such as prac- Press, 2004) provides an interesting dent in the grouping of offerings under titioners’ concepts of spectral music technical perspective. different sections. It is refreshing to being mainly focused on how you For the benefit of lay people, see an event attended by composers, get it rather than the outcome, and spectral music is a compositional musicians, and theoreticians drawn how, in a subjective sense, spectral approach through which decisions from such different aesthetics, and work is grounded in a primitive force are made based on the analysis of part of the charm of the collection is that provides a counterpoint to ab- sound spectra. While acknowledging the sheer juxtaposition of approaches straction and artificiality in art music that definitions in the field seem to and cultural diversity brought to composition. This section is then a be partly problematic, spectral music bear, even if some of the offerings tantalizing taste of things to come. is more an attitude to sound, rather seem to share little interest in explor- The Spectral Ideas section includes than an aesthetic. One approach to ing commonality in approaches and six papers, beginning from a keynote spectral composition originated in perspectives. address by Joshua Fineberg. “What’s France in the early 1970s at the In- Of course, the danger in this type In a Name” is a solid introduction to stitut de Recherche et Coordination of situation is that juxtaposition some of the history, perspectives, and Acoustique/Musique (IRCAM) and leads to little else, leaving readers practices that the term now includes, the Ensemble l’Itineraire,´ particularly to make sense out of it all in terms and it is here that he reiterates through the work of Gerard´ Grisey of commonalities. Some of the more the notion of spectral music being and Tristan Murail. In contrast to this interesting papers presented are then primarily an attitude, and also notes structural approach, the Romanian those that attempt to combine dif- how a spectral element in music is spectral tradition is more concerned fering perspectives, regardless of how something universal that all people with looking at sound in perfor- successful the outcomes might be. instinctively respond to (p. 41). Bert mance, so includes the transitory Robert Reigle’s concise introduc- Van Nerck follows with “Spectralism: aspects of timbre and non-harmonic tory talk gives the intent of the From Historical Embedment to components—focusing on the sub- inclusive nature taken by the con- New Perspectives,” a short paper on jective sense of sound as dynamic ference organizers, placing the work Western music concerns; and Mine experience rather than grounding not only in specialist domains but in Dogantan-Dack˘ delivers “Timbre as work in the scientific study of sound. the wider field of music making, and an Expressive Dimension in Music,” To put the focus of the two perspec- noting the importance of timbre as a an insightful offering, particularly her tives crudely, the French approach common concern in music-making. comments on electroacoustic music uses spectra to make the structure Also noted is how the spectral schools (p. 68) and musical character (p. 70). of the work, extending the sound, from France and Romania as major John Dack’s “Spectral Music and as it were; and the Romanian ap- aesthetic movements are allowed to Schaefferian Methodology” will be proach arrives at structure through lead dialogue, by acting as a conduit useful for those looking for a method transformations of spectra. for dialogue across disciplines. of analysis and composition; and the The Spectral Musics Confer- Interdisciplinary Panel transcripts final two papers by David Gerard ence extended the term through on spectral music follow Mr. Reigle’s Matthew (“Spectral Music and High a broader definition to include all introduction, including analytical, School Students”) and Tildy Bayar music that foregrounds timbre as ethnomusicological, and phemono- (“Music Inside Out: Spectral Music’s either an important element of struc- logical perspectives. Moderated by Chords of Nature”) are useful ex- ture or musical language, allowing Joshua Fineberg, the conversation in- amples of the application of spectral aspects of world music to be in- cludes many leading exponents in the techniques in Western music.

94 Computer Music Journal Ethnomusicological Perpective, invaluable for those wanting to know could not have been added to this the title of the second collection of something of the compositional tech- section. papers, is a fitting contrast in context, niques of spectral music, and there A Postlude includes impressions starting with an engrossing keynote are many delights to be found here. of the event by Matthew Goodheart address by Cornelia Fales titled “The The next section collects views on titled “Surreal Days in Istanbul,” Implicitness of Timbre: Attitudes practitioners’ work, and fits well in adapted from an on-line posting Towards Timbre in Barundian and terms of the sequence of proceedings. made to an improvisation discussion Western Art Musics.” Other papers This analytical grouping includes group on 23 November 2003 while are Nilgun¨ Dogrusoz’s¨ short but fine- five papers: Rozalie Hirs’s “Compo- at the conference. The Appendix has grained study “The Architecture of sitional Techniques in the Music of transcripts of radio interviews with Turkish Vocal Music: Munir¨ Nurettin Tristan Murail”; Tolga Tuz¨ un¨ with Ana-Maria Avram, Iancu Dumitrescu, Selc¸uk;” Eve McPherson’s “Vocal “An Analysis of Tristain Murail’s and Tamra Raatz, providing outtakes Timbre in Islamic Calls to Prayer Winter Fragments”; “The Music of from the conference. Paper contribu- Across Cultures;” Robert Reigles’ Sound: An Analysis of Partiels by tors’ biographies conclude the written “The Timbre of Ancestral Spirits Gerard´ Grisey” written by Chris Ar- text. in a New Guinean Village,” which rell; “The Music of Phill Niblock” by Of the CDs, as noted, the examples seems to beg for extension; and Michele Rusconi; and “North Ameri- on the first disc relate mainly to finally Kathryn Woodward’s “Evoking can Spectralism: The Music of James the illustrative talks given in the Traditional Sounds through Timbral Tenney,” by Robert A. Wannamaker. papers. Although interesting in terms Innovations,” an exploratory work Overall, the papers are carefully con- of the range of genres involved, well illustrated by musical examples sidered and well written, again with and with some standout moments, on tracks 4 and 5 of CD 1. While a good spread of material that will the quality of composition is not of differing lengths, the papers are engage readers. always consistent here. The second well written and detailed, and the The section on Performance Per- disc, compiled from concerts at the insertion of questions/answers at the spectives includes: “Spectral Flute conference, has complete works that end of papers captures the sense of Techniques Workshop” by Helen are as stylistically diverse as the audience engagement. Bledsoe (a transcription of a work- paper offerings. This includes Pieter In the third section, Composers shop); “Hyperion Ensemble Work- Snapper’s Wrong, Uzak by Ihsan Discuss Their Music, seven offer- shop” by Iancu Dumitrescu and Ozgen,¨ Eray Altınbuken’s¨ Kumdaki ings encompass many of the most Ana-Maria Avram, a transcription of Kan, Onur Turken’s¨ Kars¸ılama, significant practitioners in the field. discussions; “New Experiments in Dimitrie Cantemir’s Sipihr Pes¸revi, Although papers are again of vary- Advanced Montage: Experiences in Improvisation by Kani Karaca and ing lengths and quality, the range of Music Video Production” by Brian Kinan Azmeh, Michael Ellison’s Elif, offerings is notable. Many are also O’Reilly; a brief talk and discussion; and Robert Reigle’s [Sphere]. It is referenced to audio examples on the and finally, “The Musical Mechanics difficult to single out works here for first CD. Papers include Ana-Maria of Mysticism: A performance Analy- particular mention, given the range Avam’s “Sound Alchemy,” Xavier sis of Messiaen’s Abımeˆ des oiseaux” of aesthetic and cultural approaches Dayer’s “Poetry, Painting, History and by Tamara Raatz, an extensive paper taken. The joy is one of appreciating Consciousness,” Ianu Dumitrescu’s that adds to the depth of this section. both the diversity and points of “The Irradiant Force of Sound,” The final section, Improvisation commonality in the material. Joshua Fineberg’s “Memory and Pro- With Spectra, includes only two On the downside, for the unini- cess,” and Tristan Murail’s “Time papers.“...ofonesinuous spread- tiated, the lack of standard ways and Form in Spectral Music.” “Notes ing. . . An Exploration of Timbre, to navigate the proceedings might on Dictionary of War” was given Structure, and Musical Choice” by hinder finding a wider audience for by Mehmet Can Ozer,¨ and last but Paula Mattusen is related to a sub- the work. In addition, writing quality not certainly not least, Curtis Roads stantial excerpt on track 15 of CD 1. throughout is uneven, and some of presented “The Path to Half-life.” Al- “Techniques and Structures in Pi- the “Facebook”-type dialogues lack though the CD examples are worth- ano Improvisation” by Matthew focus. The labyrinth of formal of- while here, it would have been useful Goodheart, again connects with an ferings and captured conversation to hear more of the works referred extended musical example on CD 1. It may give the impression of entering to. Access to composer insights is seems a pity that more contributions a combination of a bric-a-brac shop

Publications 95 and a general store, or a type of non- electronic mail [email protected]; linear story with plots and subplots Web www.sfu.ca/∼truax. that are both intentional and reveal themselves by happening to be in Reviewed by Mary Simoni and the same space. Without the benefit Kristin Fosdick of some sort of background in the Ann Arbor, Michigan, USA and field then, the proceedings seem more Cleveland, Ohio, USA suited to specialists at first blush, but will also be able to engage musically A newly released interactive double intelligent lay readers who have time DVD-ROM Acoustic Communica- to explore and dwell on the material tion & Compositional Techniques by presented. Barry Truax is a compelling teaching For the initiated, the collection is a tool for computer music theory and treasure chest that juxtaposes the old composition that uses text, images, and new, the superfluous and essen- and sound examples to explore linked by an Uncertainty Principle tial, structured and spontaneous, East micro-level sound. The juxtaposition defined as: and West, popular and academic, ex- of mixed media imparts a glimmer otic and familiar, sacred and profane, into the theoretical, compositional, t ≥ 1/f refined and crude, casual and formal, and stunning influences that inspire usual and extraordinary, theoretical Truax’s formidable work. The He relates this Uncertainty Principle and pragmatic. Given the range of aes- first DVD-ROM is organized into to the Heisenberg Uncertainty Prin- thetic and academic interests, and the sections: Microsound and Granular ciple that states that certain pairs of similarities and differences, lines of Synthesis, Granulation of Sampled physical properties, like position and enquiry are then best left to readers to Sound, Karplus-Strong Resonators momentum, cannot simultaneously decide. For those who persevere, there and Comb Filters, Convolution, both be precisely known; the more are many delights to be had in the and Analysis of Specific Pieces precisely one property is known, the sheer diversity and quality of material including Riverrun (1986/2004) and less precisely the other can be known. that is presented, and the collection The Shaman Ascending (2004–05). Mr. Truax creates the analogy with is well worth tracking down. The second DVD-ROM includes the Heisenberg Uncertainty Principle The conference organizers and sections on Soundscape Composition to make the point that a change in hosts are to be commended on this and Acoustic Space and additional the time domain results in a change courageous venture, providing a analyses of compositions by Mr. in the resultant spectrum. A lecture platform for further exploration of Truax including Pendlerdrøm (1997), or supplementary reading that clearly the broad approach taken. And it was Island (2000), Temple (2002), Domin- explains the concepts should support very fitting to hold the event in a city ion (1991), and Chalice Well (2009). the potent content of these slides. that stands at the gateway of East and Complementary Web sites hint at the Mr. Truax juxtaposes the extremes West. content included on the DVD-ROMs of frequency and time pictorially, (www.sfu.ca/∼truax/riverdvd.html explaining that discrete frequency and www.sfu.ca/∼truax/scompdvd assumes that the Fourier analysis Multimedia .html). These DVD-ROMs succeed is performed on a signal that lasts Mr. Truax’s CD-ROM entitled forever, e.g., infinite time. An impulse Handbook for Acoustic Ecology in time can be precisely measured, Barry Truax: Acoustic (1999). but a Fourier analysis may result Communication and The section on micro-level sound in a multitude of frequencies (e.g., Compositional Techniques design begins with a diagram that re- infinite bandwidth). Following the lates the time domain and frequency graphic relationship of time and DVD-ROMs (2), 2008/2009, CSR- domain with the Fourier transform frequency, he provides a diagram DVD 0801/CSR-DVD 0901; Cam- and inverse Fourier transform con- from Dennis Gabor’s landmark 1947 bridge Street Records, 4346 Cam- necting each domain. Mr. Truax states article, “Acoustical Quanta and the bridge Street, Burnaby, British that at the level of micro-sound, time Theory of Hearing.” The diagram, Columbia V5C 1H4, Canada; and frequency are interdependent and without citation, depicts a Gaussian

96 Computer Music Journal