CD Program Notes

Contents very quick dynamic sounds are op- the Buenos Aires City Conservatory. posed in space to quick, close-range He has composed instrumental and microsounds, sometimes opposing electroacoustic music and his works electronic and acoustic sources. But are performed at international con- his originality, for me, is found in certs and festivals. Part One: Beatriz Ferreyra, the enormous, dynamic general Some of his compositions include: Curator breathing that we can also find in Tres piezas par Orquesta de Camara other of his works. (1958), Movimientos para piano, Elsa Justel puts microsounds into flauta, oboe y clarinette (1964), Estu- Curator’s Note primary place in her compositions, dio en Triptico (electroacoustic mu- including Alba Sud, creating incredi- sic, 1984), Faber Farven Christine Groult, Enrique Belloc, ble, original variations of qualities, (electroacoustic music, 1985), Sin- Roger Cochini, and I studied and colors, forms, and dynamics, not fonia Concertante for digital orches- worked in the 1960s and 1970s with only for each microsound but for tra and synthesizer (1988), Homenaje Pierre Schaeffer and his musical their relationships, articulations, op- a Pierre Schaeffer for live samplers method. Even if Elsa Justel came positions, and so forth. These rela- and synthesizers (1989), Para Bla, un along in the 1980s and searched for tionships occur on the small scale saludo a Barbara Belloc (1993), po- her own way, her work and interest along with larger sounds placed in Pierre (1994), Rugosidades del Incon- in acoustic sounds put her very near different points of audible space. ciente colectivo (1995), Suite the Schaefferian acousmatic ap- For Passagers imminents, Chris- Acusmatica (1995), Objetos Reen- proach. tine Groult worked with recorded contrados (INA/GRM commission, The term ‘‘acousmatic’’ comes sounds, both processed and unpro- 1997), Espacios Acusmaticos (octo- from Pythagoras and his method of cessed, at the same time creating a phonic, 1998), Canto Ancestral: On- teaching: he taught behind a curtain spatial antithesis. This produces two oma, Poieo, Tibet, Suenos (1999). so that his pupils could only hear his different and parallel worlds, a re- Mr. Belloc’s music is included on the voice without seeing him, without markable game between large ab- recording Panorama de la Mu´ sica visual support, without recognizing stract materials and elastic, Argentina (IRCO VIDEO SRL—Soni- the sound source. anecdotally formed sounds. dos y visiones del sur). I have chosen these particular 1. Triptico de Bahia Blanca— 2. Alba Sud—Elsa Justel composers because I find each to Enrique Belloc Alba Sud (1997–1998) was com- have a very personal approach to- Triptico de Bahia Blanca (2000) missioned by the Institut Interna- ward their sounds and the composi- was commissioned by the Town tional de Musique tional structure, always with an Council of Bahia Blanca. It is dedi- Electroacoustique de Bourges identifiable morphology and particu- cated ‘‘In Memoriam Eduardo (IMEB) and was composed in the lar ‘‘taste of sounds.’’ I wouldn’t Mallea.’’ studios of IMEB. This piece is an want to give an analysis of each homage to musique concre`te and composer, but instead offer a short Enrique Belloc (b. 1936, Buenos Ai- at the same time to the idea of general overview. res, Argentina) studied philosophy at compatibility between recorded In his Triptico de Bahia Blanca, the University of Buenos Aires. A re- and synthetic sound sources as Enrique Belloc opposes a morpholog- cipient of a Ford Foundation Grant, well as between analog and digital ical with a pictorial point of view. he participated in the Artist-in- technology. Even if I didn’t live Using a remarkable sensation of Residency Program in West Berlin during the ‘‘Schaefferian’’ revolu- tempi, his orchestral and acoustic (1964–1968), and also studied and tion, the ideas of Pierre Schaeffer processed sounds give emphasis to a worked with Pierre Schaeffer at the made a great impact on me. Alba sort of succession of waves, articula- Groupe de Recherches Musicales in Sud is dedicated to Beatriz tions with fast and slow general Paris. He has been Director of Ferreyra. movement. Buenos Aires Symphony Orchestra, Roger Cochini treats these sorts of second Director of the National Elsa Justel (b. 1944, Mar del Plata, articulations in a very different way. Symphony Orchestra of Argentina, Argentina) studied composition and In the background of La Schiuma dei and professor of instrumental and electroacoustic music in Buenos Ai- Rumori, large, slow waves built by electroacoustic musical analysis at res. She has resided in France since

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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/01489260152815332 by guest on 25 September 2021 1988, where she obtained her Mas- with my first musical essays, op- 1994), Tout est bon dans le poulet ters and DEA degrees in Computer portunities for associating sounds (homage to Pierre Schaeffer, 1996). Music from the Universite´ de Paris with revived affinities. And a little 4. Passagers imminents—Christine VIII. She taught avant-garde tech- bit later, with Chansons de Gestes Groult niques of music at the Conservatory (1997), I had the occasion to ques- of Mar del Plata from 1980. Awards tion their analogical links as much We have known, we have include: TRIME (Argentina), Prix Ars as their heterogeneous distances. It touched a world, where a man con- Electronica, Stipendienpreis of is to this suite of musical composi- fined in poverty was at least guar- Darmstadt (1990), and International tions that La schiuma dei rumori anteed in his poverty. It was like a Electroacoustic Competition of is related. There are some human deaf agreement between mankind Bourges. Her work has been included gestures, some sounding elements and fate, and to that agreement the in international festivals (Interna- and instruments. But there is fate has never failed before the in- tional Computer Music Conference, much more than this, like move- auguration of modern times. It was Bourges, Darmstadt, Japan, etc.). Ms. ments easy to locate, coming from a fact that the one who sought fan- Justel has received commissions the animal world, from a natural tasy, arbitration, the one who in- from INA/GRM, Groupe de Musique environment, from different musi- troduced a game, the one who Electroacoustique de Bourges cal cultures. There are vocal im- wanted to escape from poverty, he (GMEB), Elektronik Musik Studio of pulses, sounds of elementary risked everything. Because he in- the Hochschule of Vienna, Instituut synthesis . . . and any sounding be- troduced the game, he could lose. voor Psychoacustica en Elektronis- ing that moves freely, jokingly, But the one who didn’t play, che Muziek—Ghent (IPEM), Labora- without disguising its identity. couldn’t lose. They couldn’t sus- torio de Informa´tica y Electro´ nica And—also—the gestures of the pect that a time came, and that it Musical–Madrid (LIEM), and Phonos– studio, those of our self- was already there, and it was pre- Barcelona. Her music is recorded on expression. The time of a meeting. cisely the modern time, where the Comme si l’hydroge`ne (J&W, Can- one who doesn’t play loses all the ada), ICMC 1996 Hong Kong, Minia- Roger Cochini (b. 1946, Marseille, time, and more surely than the tures concre`tes (Diffusion i Media). France), studied music and science, one that plays. (C. Pe´guy, The Compositions include: Feuillage graduating as an engineer in physics money) de Silence for flute and oboe (GRM, from the National Institut of Sci- Christine Groult (France) studied 1995), Du libe tu? (1996), La ventana ences in Lyon, France. He also stud- music at the Conservatoire de Pan- deshabitada for harpsichord and tape ied at the Conservatoire National tin, musicology and linguistics at the (IPEM/IMEB, 1990/92), Au loin . . . Supe´rieur de Musique de Paris, at Sorbonne, electroacoustic composi- bleu (Royaumont Foundation, 1997), GRM with Pierre Schaeffer (1969– tion at GRM with Pierre Schaeffer, Sikxo for saxophone and tape (1989), 1971), and was a member of GRM and computer composition at Chi-pa-boo (Empreintes Digitales, from 1970–1972. He was also a IRCAM under the direction of Pierre for double bass and tape םAll ,(1996 member of GMEB (Bourges) from Boulez. She worked in the Depart- (Ateliers Mixture, 1993), Ichihu- 1972–1996. From 1983, Mr. Cochini ment of Pedagogy at IRCAM (1984– alasto (IMEB, 1989), Fy Mor (1991), has taught electroacoustics at the 1995), and since 1985 she has taught Tiempo de Antorchas for oboe and Bourges National School of Music electroacoustic music at the Ecole tape (IMEB, 1990), Megots (1995), La- and Dance, and has taught at the Nationale de Musique at Chalon-sur- tido Estival (LIEM, 1992), Mats Universite´ de Lille 3 from 1996. His Saone. She is also co-founder of the (GRM, 1999). music is recorded on Chrysope´e Elec- LIGYS Studio. Ms. Groult has re- 3. La Schiuma dei Rumori—Roger tronique Bourges (LDC 278 1103). ceived commissions from various as- Cochini Some electroacoustic pieces in- sociations, and composes acousmatic La Schiuma dei Rumori (The clude: Remparts d’Ainay (GRM, and mixed pieces, along with music foam of noises) (2000), was com- 1972), Eva ou les yeux ferme´s for theater, ballet, and films. She cre- missioned by INA-GRM. The be- (GMEB, 1975), Chansons de Gestes ated the sound installation, Le chant ginning of the 1970s was, for (GMEB, 1977), Lullaby (GMEB, de la Tour Eiffel, that is permanently electroacoustic music, the rise of 1979), Chaste Fleur, mon capitaine installed on the first floor, north pil- the first polyphonic audacities. I . . . Chaste Fleur (National Educa- lar of the Eiffel Tower. Her music is followed this beautiful adventure tion, 1993), l’Ouı¨e lumie`re (GMEB, recorded on the Metamkine label.

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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/01489260152815332 by guest on 25 September 2021 Some of Ms. Groult’s electro- for electroacoustic music. In 1998, Part Two: Sound Examples acoustic compositions include: she created the ‘‘Rendez vous de la Promenade d’enfance (1990), musique concre`te’’ concerts at the 6. Announcement of Part Two L’Heure alors s’incline. . . (DRAC, Centre d’Etudes et de Recherches Sound Examples to Accompany the 1991), Le temps du Ciel: Entropie Pierre Schaeffer. Commissions have Article, ‘‘A Virtually Real Flute’’ by (Les promenades musicales du Pays been granted to Ms. Ferreyra from Sølvi Ystad and Thierry Voinie (Vol- d’Auge, 2000), Si l’oiseau par hasard such organizations as the French ume 25, Number 2) (INA-GRM, 1989), Suite en mouve- Ministry of Culture, GRM, IMEB, 7. Ystad/Voinier: 1). Group additive ments (DRAC, 1995), Le labyrinthe and ACIC, and her works have been (1997), Lame de fond (ballet, 1992), resynthesis: a) original flute awarded prizes from Filkingen, Rus- sound; b) 1st component of the Images de nature et mobilite´ (co- solo, Magiste`re de Bourges (2000), creation with Mirtha Pozzi), De´voile- resynthesis; c) 1st and 2nd com- and many others. She composes for ponents; d) 1st through 3rd com- ment (1997), Le pressentiment des concerts, festivals, ballets, music alligators devant l’escalier (dance, ponents; e) 1st through 4th therapy, and films. Her music is re- components; f) 1st through 5th 1994), Opus 67–97 (dance, 1997), Un corded on labels such as Sonic Cir- reˆve excellent De components; g) 1st through 6th (theater, 1987), cuits (1997), Chrysope´e Electronique Sade, Juliette (theater, 1989), Fe´line components; h) 1st through 7th (1998), Cultures Electronique (2001). (dance, 1989), Ubu en-chaıˆne´ (thea- components; i) 1st through 8th Principal compositions include: ter, 1992), La recherche instrumen- components; j) original flute Demeures Aquatiques (GRM, 1967), tale (IRCAM, 1985), sound again. Me´disances (GRM, 1968), L’Orvietan Rodin-fragments (film, 1990), Ve´las- 8. Ystad/Voinier: 2) Resynthesis ob- (GRM, 1970), Antartide (film, 1971), quez (film, 1992), Giacometti (video, tained by digital waveguide mod- Siesta Blanca (GMEB, 1972), Muta- 1992), Voyage d’hiver (film, 1993), els: a) original string sound; b) tions Canto del Loco Sistemazione comoda (video installa- (film, 1972), resynthesis of a string. tion, 1996), Le temps du ciel and La (GMEB, 1974), Homo Sapiens (film, 9. Ystad/Voinier: 3) Resynthesis ob- fle`che du temps (film, 1999), Passa- 1974–75), Tierra Quebrada for violin tained by digital waveguide mod- gers imminents (2000). and tape, (ACIC, 1976), Echos (1978), els: a) original sound from a flute Jeux des Rondes for piano and tape keypad (heard three times); b) re- 5. Jazz’t for Miles—Beatriz Ferreyra (1980–84), Cercles des Rondes (1982), synthesis of the keypad noise (heard three times). Jazz’t for Miles (2001) is a little Boucles, Rosettes et Serpentins 10. Ystad/Voinier: 4) Resynthesis ob- homage to a wonderful jazz man (GMEB, 1982), La Calesita (Conser- tained by digital waveguide mod- who taught me to feel and dream vatoire de Blanc-Mesnil, 1982), els: white noise injected into the about the flexibility and wonder of Bruissements for oboe and tape resonator simulating the tube. sound, independently of rhythm (ACIC, 1983), Arabesques autour 11. Ystad/Voinier: 5) Flute source and melody. d’une corde raide for clarinet solo model: a) original flute sound; b) (1984), Passacaille deboite´e pour un Beatriz Ferreyra (b. 1937, Co´ rdoba, source excitation (the resonator lutin for lute and tape (ACIC, 1984), Argentina) studied music in Paris contribution is removed by de- Petit Poucet Magazine (GMEB, with Nadia Boulanger (1962) and convolution); c) deterministic 1985), The U.F.O. forest (GMEB, with Edgardo Canton (GRM, RAI – part of the source excitation; d) 1985), L’Autre. . .ou le chant des Italy, 1963). She worked at GRM un- stochastic part of the source ex- mare´cages Souffle d’un der the leadership of Pierre Schaeffer (ACIC, 1987), citation. (1963–1970), where she participated petit Dieu distrait (GMEB, 1988–97), 12. Ystad/Voinier: 6) Different steps in the production of the recordings Tata, tocame la toccata for piano in the resynthesis of a flute for Schaeffer’s Solfe`ge de l’Objet So- solo (1990), Remolinos for five in- sound by hybrid modeling: a) nore (1967). She had an educational struments (Solars Vortices, 1990), original flute sound; b) input of function at GRM and also gave lec- Mirage Contemplatif? (IMEB, 1992), the waveshaping function; c) de- tures at the Conservatoire Nationale Rios del Sueno: Rio de los pajaros terministic part of the source; d) de Paris. Ms. Ferreyra has been a (1993–1998), Rio de los pajaros es- stochastic part of the source; e) member of the Colle`ge des Composi- condidos (GRM, 1999–2000), Rio de total flute source; f) resynthesis teurs (IMEB) from 1975, and has reg- los pajaros azules (Dartmouth Stu- of the flute sound by the hybrid ularly served on international juries dio, 1999). model.

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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/01489260152815332 by guest on 25 September 2021 13. Ystad/Voinier: 7) Examples of more). The flute sound examples by Means of Harmonic-Band Wave- possible sound transformations: are depicted in Figure 4 of the ar- lets’’ by Pietro Polotti and a) original sound; b) exaggerated ticle. The first track is a demon- Gianpaolo Evangelista (Volume 25, vibrato; c) octaviation; d) pianis- stration of resynthesis from a Number 3) simo playing (Index variation); e) flute model. It starts with the ‘‘pan flute’’ (acting on the distor- original saxophone signal (see 22. Polotti/Evangelista: 1) Original tion function by removing even Figure 4a) followed by the resyn- sounds (the original sounds were partials); f) ‘‘flutar’’ (flute source thesized flute (see Figure 4c). taken from the McGill Univer- guitar resonator). Note that the model does not sity Master Samples library and ם 14. Ystad/Voinier: 8) The digital contain the high dimensional have been used with permission): flute in a musical context: wind noise of the sound. a) oboe; b) trumpet; c) violin. e´changes for digital flute, Diskla- 18. Ro¨ bel: 4) Flute: a) original; b) re- 23. Polotti/Evangelista: 2) Harmonic vier, and tape (composition and synthesized (repeated twice synthetic residual: a) oboe; b) performance by Sølvi Ystad). more). This example demon- trumpet; c) violin. Sound Examples to Accompany the strates time stretching of the 24. Polotti/Evangelista: 3) Harmonic ם Article, ‘‘Synthesizing Natural saxophone model (see Figure 4d). synthetic residual synthesized Sounds Using Dynamic Models of 19. Ro¨ bel: 5) Piano: a) original; b) re- noise components: a) oboe; b) Sound Attractors’’ by Axel Ro¨ bel synthesized (repeated twice trumpet; c) violin. (Volume 25, Number 2) more). The piano sound exam- 25. Polotti/Evangelista: 4) Original ples are depicted in Figure 5 of sound: a) oboe; b) trumpet; c) vi- 15. Ro¨ bel: 1) Saxophone: a) original; the article. The first track is a olin. b) resynthesized (the pair of ex- demonstration of resynthesis 26. Polotti/Evangelista: 5) 4 sub- amples on each track are re- from a piano model. It starts band noise component (recon- peated twice more). The with the original piano signal structed): a) oboe; b) trumpet; c) saxophone sound examples are (see Figure 5a) followed by the violin. depicted in Figure 3 of the arti- resynthesized piano (see Figure 27. Polotti/Evangelista: 6) 4 sub- cle. The first track is a demon- 5c). The resynthesized signal band noise component (synthe- stration of resynthesis from a contains a slight aliasing noise sized): a) oboe; b) trumpet; c) saxophone model. It starts with due to the fact that the model violin. the original saxophone signal coordinate delay is 3 and the 28. Polotti/Evangelista: 7) 3 sub- (see Figure 3a) followed by the training signal has not been fil- band noise component (recon- resynthesized saxophone (see tered sufficiently with respect to Figure 3b). The model degrada- structed): a) oboe; b) trumpet; c) the model’s reduced Nyquist violin. tion at the end of the sound is range. Due to the problems with due to the fact that the squared 29. Polotti/Evangelista: 8) 3 sub- the piano representation de- band noise component (synthe- error criterion used for training scribed in the article this issue the model produces a smaller sized): a) oboe; b) trumpet; c) has not been addressed further. violin. relative error in regions with 20. Ro¨ bel: 6) Piano: a) original; b) re- large amplitude. As a conse- 30. Polotti/Evangelista: 9) 2 sub- synthesized (repeated twice band noise component (recon- quence, the model error does not more). This example demon- decrease as fast as the signal am- structed) a) oboe; b) trumpet; c) strates the artifacts for time violin. plitude, with the result that the compressing the piano model modeling precision decreases and 31. Polotti/Evangelista: 10) 2 sub- (see Figure 5e). band noise component (synthe- in the end is no longer sufficient 21. Ro¨ bel: 7) Piano: a) original; b) re- sized): a) oboe; b) trumpet; c) to closely follow the attractor. synthesized (repeated twice violin. 16. Ro¨ bel: 2) Saxophone: a) original; more). This example demon- 32. Polotti/Evangelista: 11) 1 sub- b) resynthesized (repeated twice strates the artifacts for time more). This example demon- band noise component (recon- stretching the piano model (see strates time stretching of the structed) a) oboe; b) trumpet; c) Figure 5e). saxophone model (see Figure 3d). violin. 17. Ro¨ bel: 3) Flute: a) original; b) re- Sound Examples to Accompany the 33. Polotti/Evangelista: 12) 1 sub- synthesized (repeated twice Article, ‘‘Fractal Additive Synthesis band noise component (synthe-

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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/01489260152815332 by guest on 25 September 2021 sized): a) oboe; b) trumpet; c) environment several times over Sound Example 6. Up-down mo- violin. headphones, closing their eyes to tion accomplished with HRTFs. better concentrate on the sound. 50. Cheng/Wakefield: 8) Male and Sound Examples to Accompany the Sound examples 1–9 contain demon- female speech (mono). Source; no Article, ‘‘Methods for Modeling Re- strations which isolate certain spa- spatialization. alistic Playing in Acoustic Guitar tialization techniques, whereas 51. Cheng/Wakefield: 9) Male and Synthesis’’ by Mikael Laurson, Sound examples 10–16 contain spa- female speech (stereo). Spatial- Cumhur Erkut, Vesa Va¨ lima¨ ki, and tialized excerpts from Fishbowl,a ized version of Sound Example 8. Mika Kuuskankare (Volume 25, short piece of binaural electroacous- Front-back motion accomplished Number 3) tic music composed to exploit these with HRTFs. 34. Laurson et al: 1) Scale (J. Turina, spatialization techniques. Sound Ex- 52. Cheng/Wakefield: 10) Fishbowl Fandanguillo). ample 17 contains the entire piece excerpt (mono). Source with re- 35. Laurson et al: 2) Tremolo (F. Fishbowl. All Sound Examples ᭧ verberation; no spatialization. Tarrego, Recuerdos de la Alham- 2000 Corey Cheng. 53. Cheng/Wakefield: 11) Fishbowl bra). excerpt (stereo). Spatialized ver- 43. Cheng/Wakefield: 1) Virtual ten- 36. Laurson et al: 3) Arpeggio (H. sion of Sound Example 10. Exter- nis game (mono). Source; no spa- Villa-Lobos, Study 1). nalization and left-right motion tialization. (See Figure 11a.) 37. Laurson et al: 4) Rapid textures accomplished with HRTFs. 44. Cheng/Wakefield: 2) Virtual ten- (M. Kuuskandare, Guitarismo). 54. Cheng/Wakefield: 12) Fishbowl nis game (stereo). Spatialized ver- 38. Laurson et al: 5) Longer excerpt excerpt (stereo). Example of left- sion of Sound Example 1. (J. S. Bach, E-major Partita, Pre- right motion accomplished with Left-right motion accomplished lude). HRTFs. Combining spatialized, with hard left-right panning. (See 39. Laurson et al: 6) Longer excerpt reverberated sounds and non- Figure 11b for details.) (J. S. Bach, E-major Partita, spatialized, non-reverberated 45. Cheng/Wakefield: 3) Virtual ten- Loure). sounds to create contrast in nis game (stereo). Spatialized ver- 40. Laurson et al: 7) Longer excerpt depth. sion of Sound Example 1. (F. M. Torroba, Madro los). 55. Cheng/Wakefield: 13) Fishbowl Left-right motion accomplished 41. Laurson et al: 8) Longer excerpt excerpt (stereo). Example of with HRTFs. (See Figure 11c for (P. Heininen, Kitaraviiva 1). down-up motion accomplished details.) 42. Laurson et al: 9) Longer excerpt with HRTFs. Accentuating 46. Cheng/Wakefield: 4) Virtual ten- (J. A. Muro, Lettera Amorosa). down-up motion by matching a nis game (stereo). Spatialized ver- sound’s spectral properties to a Sound Examples to Accompany the sion of Sound Example 1. listener’s spatial expectations for Article, ‘‘Moving Sound Source Syn- Front-back motion accomplished low and high frequency sounds. thesis for Binaural Electroacoustic with HRTFs. (See Figure 11d for 56. Cheng/Wakefield: 14) Fishbowl Music Using Interpolated Head- details.) excerpt (stereo). Example of the Related Transfer Functions (HRT’s)’’ 47. Cheng/Wakefield: 5) Virtual ten- ‘‘Chase’’ technique. Combining by Corey Cheng and Gregory nis game (stereo). Spatialized ver- hard left-right panning and Wakefield (Volume 25, Number 4). sion of Sound Example 1. HRTF-based left-right spatializa- These binaural sound examples Combined left-right and front- tion in the same sound example have been specifically processed to back motion accomplished with to create spatial tension and re- be listened to over a good pair of HRTFs. Example of pivot loca- lease. headphones. Nonetheless, some of tion connecting two different 57. Cheng/Wakefield: 15) Fishbowl these effects are more successful spatial trajectories. (See Figure excerpt (stereo). Example of the than others, and the authors realize 11e for details.) ‘‘slingshot’’ technique. Combin- that not all listeners may be able to 48. Cheng/Wakefield: 6) Footsteps ing hard left-right panning and immediately hear the intended spa- walking up and down stairs HRTF-based left-right spatializa- tial effects. Because the intended spa- (mono). Source; no spatializa- tion in the same sound example tialization effects can be delicate and tion. to create spatial tension and re- may vary somewhat from person to 49. Cheng/Wakefield: 7) Footsteps lease. person, we suggest that listeners lis- walking up and down stairs 58. Cheng/Wakefield: 16) Fishbowl ten to each sound example in a quiet (stereo). Spatialized version of excerpt (stereo). Development of

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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/01489260152815332 by guest on 25 September 2021 the ‘‘slingshot’’ technique. Com- tory the ‘‘Fishbowl,’’ since one of knocks or taps at the glass were bining hard left-right panning its walls is made entirely of just reminders that we were like and HRTF-based left-right spa- glass. Every day, friends and a strange school of fish that can tialization in the same sound ex- strangers pointed at us through be seen but not heard. This piece ample to create spatial tension the glass on their way to lunch, is what the everyday politics of and release. being sure to make funny faces our particular fishbowl could 59. Cheng/Wakefield: 17) Fishbowl at the poor grad students trapped sound like to a passerby, when (1999). (stereo, entire piece). My inside. On days when things the fish are scared and the bowl labmates and I call our labora- weren’t going well, friendly of water is having a bad day!

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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/01489260152815332 by guest on 25 September 2021