News

Winners of the Bourges were made of Elio Martisciello (Italy) Processes’’; Jacopo Baboni-Schilingi 30th International Competition for Presenti successivi and Adrian and Jean Michel Courtecuisse: ‘‘Mu- Moore (UK) for Sea of Singularity. In sical Introduction: Toward Composi- of Electroacoustic Music and the category for work for dance or tion with the Use of Data Processing Sonic Art 2003 theater a prize was awarded to Luigi Tools’’; Laurent Pottier: ‘‘STRAPS, A Ceccarelli (Italy) for Live (dance: Fran- Piece by Eryck Abecassis for Ensem- Downloaded from http://direct.mit.edu/comj/article-pdf/27/4/7/1854885/014892603322730460.pdf by guest on 01 October 2021 Winners of the Bourges 30th Interna- cesco Scavetta; video: Tone Myskja). ble with Live Electronics—Problems tional Competition of Electroacous- In the category for work for installa- of Analysis of Pieces with Electron- tic Music and Sonic Art 2003 have tion or environment, a Mention was ics’’; Hans Tutschku: ‘‘Vocal Control been announced. The jury for the made of Christophe Ruetsch (France), of Electronics in Real Time’’; Thierry competition was made up of Franc¸o- Fre´de´ric Blin (France), and Pierre Coduys and Cyrille Henry: ‘‘New ise Barrie`re (France), Erik Mikae¨l Jodlowski (France) for Mendel (inter- Materials for High Precision Sam- Karlsson (Sweden), John Christopher active sonic installation). In the cate- pling’’; and by Moreno Andreatta and Nelson (USA), Jean Michel Ponty gory for work for multimedia a prize Carlos Agon: ‘‘Algebraic Formaliza- (France), Pascale Pronnier (France), was awarded to Kotoka Suzuki (Ja- tion of Musical Structures Using Set Jorge Rapp (Argentina), Michel Re- pan) for Umidi Soni Colores (video: Theory: Theoretical and Analytical dolfi (France), Anne Roquiny Claudia Rohrmoser). A Mention was Aspects.’’ (France), and Ulrich Suesse (Ger- made of Bret Battey (USA) for Writ- The Wednesday evening perfor- many). Residencies went to Kari Be- ing on the surface (for video and mance organized by ENM in collabo- sharse (USA) for Small Things, music). ration with the Centre International Konstantinos Karathanasis (Greece) de Cre´ation Vide´o Pierre Schaeffer for De Ligno Chalybeque, Mehmet (CICV) with performance on the Can O¨ zer (Turkey) for Works 2001/4, Scenum Mobile, a portable technical Hanns Holger Rutz (Germany) for Journe´es d’Informatique platform for the capture and mixing 5th Residual, Matthias Strassmueller Musicale 2003 of images, featured the Percussion (Germany) for Fusions, and Alexan- Ensemble of ENM and live electron- der Volodin (Russia) for The Music of Journe´es d’Informatique Musicale ics, with works of Hans Tutschku, my memory. The Magisterium prize (Musical Computation Days) were Miloslav Kabelac, Iannis Xenakis, was not awarded this year. held 4–6 June 2003 at l’Ecole Nation- and Ge´rard Grisey. In the category for electroacoustic ale de Musique (ENM) du Pays de Presentations on Thursday, 5 June, music in the studio without instru- Montbe´liard (National Music School included Marc Chemillier: ‘‘For a ments, prizes were awarded to Mario of the Region of Montbe´liard ), in Multimedia Notation in Ethnomusi- Mary (Argentina) for Signes e´mer- collaboration with the Association cology’’; Michael Laurson and Mika gents and Ambrose Field (UK) for Franc¸aise d’Informatique Musicale Kuuskankare: ‘‘From RTM-Notation One hell of a place to lose a cow. (French Association of Musical Com- to ENP-Score-Notation—Composi- Mention was made of Apostolos Lou- putation). tional Environment PWGL’’; Myriam fopoulos (Greece) for Erevos. In the Presentations on Wednesday, Desainte-Catherine and Gyo¨ rgy Kur- category for electroacoustic music in 4 June, included Benoıˆt Courribet: ta´g: ‘‘Specification of Sound Synthe- the studio with instruments, prizes ‘‘Tools for a Transformational Ap- sis Applications to Musical were awarded to Gerald Eckert (Ger- proach to the Interpretation of Elec- Pedagogy—Pedagogical Sound Syn- many) for Offen-fin des terres (for en- tronic Music’’ [most paper titles have thesis Tools for Beginning Music’’; semble and live electronic) and been translated from French]; Anne Thierry Coduys, Adrien Lefe`vre, and Laurent Soulie (France) for Ecorce de Sedes, Benoıˆt Courribet, and Jean- Gerard Pape: ‘‘IanniX—Descended lune (for ensemble and live elec- Baptiste Thiebaut: ‘‘Visualization of from UPIC, IanniX Proposes Paths to tronic). Mentions were made of Mi- Sound with the EGOSOUND Soft- Innovation’’; John Dack: ‘‘Ear Train- guel Azguime (Portugal) for Derrie`re ware’’; Emmanuel Jourdan, Andrew ing to Use the Computer and the son double (for ensemble and live Gerszo, Roland Cahen, and Rodolphe Progmenu’’; Bertand Merlier: ‘‘The electronic) and Emanuele Casale Saugier: ‘‘Interactive Musical Appli- Hand, the Instrumental Gesture, and (Italy) for 5 (for flute, clarinet, and cations for Music Instruction in Na- the Creative Thought—GD3, Three- tape). In the category for sonic elec- tional Education’’; Carlos Caires: dimensional Gestural Controller’’; troacoustic art works, Mentions ‘‘Toward a Notation for Microediting Charlotte Truchet, Ge´rard Assayag,

News 7 and Philippe Cordognet: ‘‘OM- • A workshop on the ‘‘dolabip’’ tional approach. The National Clouds, Small Clouds of Constraint project with artistic direction by Music School of the Region of in OpenMusic’’; Fabrice Guedy: Gyo¨ rgy Kurta´g and scientific di- Montbe´liard has formed a part- ‘‘Teaching Experiences in the Line of rection by Myriam Desainte- nership with the Tempo Reale the Feuillantines Workshop’’; Denis Catherine. The objective of this Center for the development of Lorrain: ‘‘Realization of Musical project is the development of a these tools.

Games in the 18th Century: Mozart pedagogical tool for introductory • A workshop on GENESIS: Physi- Downloaded from http://direct.mit.edu/comj/article-pdf/27/4/7/1854885/014892603322730460.pdf by guest on 01 October 2021 and Stadler’’; and by Alain Bonardi: music in public schools. Com- cal Modeling in Musical Compo- ‘‘Lyrical Gesture versus Interactive mercial music composition soft- sition, directed by Claude Cadoz. Gesture, Example of the Interactive ware is ill-suited to group use in The particularity of GENESIS Opera Alma Sola—Bringing Together the classroom. In order to sup- software is the creation of of Lyric and Digital Art.’’ port the development of listen- sounds by physical simulation of The Thursday evening concert fea- ing strategies in the child, we objects such as strings, mem- tured the Interactive Music Ensem- propose to design a pallet of ped- branes, hammers, etc. These ob- ble of the National Music School of agogical tools for sound explora- jects interact, and one can thus the Montbe´liard Region, with works tion equipped with devices obtain very natural sounds, for by Hans Tutschku (Germany), Jacopo adapted to the motor skills of example by simulating the strik- Baboni-Schilingi (Italy), Patricia Ales- children. These tools are as fol- ing of a guitar string, of a gong, sandrini (USA), Leyre Aguirre lows: A real-time sound synthe- of a bell. But the parameters can (Spain), Guilherme Carvahlo (Brazil), sizer and programmable vary ad infinitum and the com- Lorenzo Bianchi (Italy), Joel Patin composition hardware devices poser can experiment at leisure: (France), Anne Nardin (France), and allowing real-time control of the to give to its objects the mass of Ketty Nez (USA). sounds produced by the com- an atom or a planet if it is de- Presentations on Friday, 6 June, in- puter, synthesis software con- sired. It can model all the instru- cluded Karim Barkati and Emmanuel trolled in real time by the ments of an orchestra and Saint-James: ‘‘SVG & XSLT: a Note- devices, a meta-instrument al- program the envelope of the worthy Staff (Representation of a lowing the simulator to config- sounds. Physical modeling using Musical Score on the Screen of a ure play in order to obtain this principle applies equally to Browser)’’; Sinan Bokesoy and Gerard various instruments. An instru- the modeling of ‘‘macro- Pape: ‘‘Presentation of Stochos—A mentarium developed by means instruments’’ producing the phe- Real-time Event Generator: Stochas- of the synthesizer precedent, nomena of sound structures and tic, Chaotic, and Deterministic’’; supporting various listening of complex temporal evolutions Paulo C. Chagas: ‘‘Distinction be- strategies in the child, accom- corresponding to the scale of the tween Medium and Form: a New Ap- proach to Musical Semiotics’’; pany pedagogical programs of ex- musical composition. The pre- Nicolas Scaringela, Yann Orlarey, perimentation (instrumental sentation will comprise an expla- Dominique Fober, and Ste´phane research, mode of play), composi- nation of the bases of the Letz: ‘‘Automatic Vectorization in tion and improvisation, by system, sound examples of the Faust’’; Olivier Lartillot: ‘‘Perception means of these instruments and principal categories of instru- Based Musical Pattern Discovery’’; adapt with different school mental systems and some exam- Benoıˆt Meudic: ‘‘Automatic Extrac- cycles. ples corresponding to its use for • tion of Patterns from Polyphonic A workshop on the Introduction musical creation. • MIDI sequences’’; Antonio de Sousa to Composition for Children, An instrumental workshop on Dias: ‘‘Transcription of Music V to with artistic direction by Jacopo The Relationship of Instrument Csound Files through OpenMusic’’; Baboni-Shilingi assisted by Jean and Computer, directed by Hans and by Francis Rousseux and Alain Michel Courtecuisse. Initiated Tutschku. The National Music Bonardi: ‘‘’Music-ripping’: of the by Luciano Berio and developed School of the Region of Montbe´- Practices which Bring to Musicology by the Tempo Reale Center in liard established training in- Man–Machine Relationships Gener- Florence, programmed in Max/ tended for instrumentalists and ating New Categories of Practice.’’ MSP, the collection of tools de- composers for the mastery of no- Several workshops held on veloped permit an Introduction tation and the relationship be- Wednesday and Thursday included: to music through a composi- tween instruments and digital

8 Computer Music Journal electronics in real time. Devel- director was Paula de Castro Gui- in Composition’’; Takayuki Rai and oped by the principal author of mara˜es. Shu Matsuda: ‘‘Digital Image Pro- OpenMusic and Max/MSP, Mr. The symposium featured guest cessing with Sound’’; Agostino Di Tutschku will present with the speakers from many fields, ranging Scipio: ‘‘Microtime Sonic Design instrumentalists a synthesis of from established composers to artifi- (History and Aesthetical Implica- the steps and the results. The en- cial intelligence researchers and mu- tions)’’; Eduardo Reck Miranda: ‘‘A

semble thus constituted has real- sicologists who presented a broad Sı´ntese Vocal Electro´ nica de Pythag- Downloaded from http://direct.mit.edu/comj/article-pdf/27/4/7/1854885/014892603322730460.pdf by guest on 01 October 2021 ized concerts in France, Italy, range of topics related to the study of orean Chorale’’; and Barry Truax: Argentina, Chile, and Germany. human musical activities both from ‘‘Granular Sound Design and Sound- • An instrumental workshop on the point of view of scientific prac- scape Composition.’’ the Relationship of Instrument tice (acoustics, artificial intelligence The symposium also included a and Computer was directed by and cognitive science) and from the series of thirteen concerts including Robert Pascal and Benjamin point of view of the practice and aes- special programs of the music of Carat. Mr. Pascal, a composer thetics of actual composers. Paula and Miguel Azguime and of and mathematician, has collabo- The presentations included Agos- John Chowning. Six concerts for rated with Mr. Carat, a cellist, tino di Scipio (Italy): ‘‘Sketches of an loudspeaker orchestra alternated for several years in the explora- Ecosystemic View of Interactive Mu- with concerts of instrumental music. tion of interactive processes in sic’’; Antonio Ferreira (Portugal): ‘‘In- More than twenty world premieres real time. tuition, Metaphor and Technique in were performed. • Sound installations were pre- Electroacoustic Music’’; Barry Truax More information on Miso Music sented by Pascal Marchand (Canada): ‘‘Music and Science Meet Portugal can be found at (L’aventure du Carre´) and Jean at the Micro Level: Time-Frequency www.misomusic.com. Louis Baverel (Une causerie mu- Methods and Granular Synthesis’’; sicale instantane´e). Claude Cadoz (France): ‘‘Creation of More information can be found at Sounds and Composition of Music jim2003.agglo-montbeliard.fr. with Physical Modeling—The GEN- The International Conference on ESIS Environment from ACROE’’; New Interfaces for Musical Eduardo Reck Miranda (UK): ‘‘Self- Expression (NIME-03) Programming Synthesizers, Swarm Mu´sica Viva 2003 Orchestras and the Origins of Mel- The International Conference on ody: At the Crossroads of Artificial New Interfaces for Musical Expres- Mu´ sica Viva 2003, the International Life and Music’’; Emmanuel Nunes sion (NIME03) was held 22–24 May Symposium on Music and Science, (France): ‘‘Interpretation Aspects in in Montre´al, Que´bec, Canada. The was held at the Museo dos Trans- Composition through Microtempor- conference focused on the current portes in Coimbra, Portugal, on 12- ality—Awareness in Acoustical De- state of the art in the field of new in- 18 September 2003. The symposium vices’’; Ian Cross (UK): ‘‘Music, terfaces for musical expression. was organized by Miso Music Portu- Science and Meaning’’; John Chown- NIME-03 was organized by the Fac- gal, the Portuguese section of the In- ing (USA): ‘‘Computers, Music and ulty of Music, Music Technology ternational Society for Science: A Rich Interdependence’’; Area, McGill University, Montre´al, Contemporary Music (ISCM- Marc Leman (Belgium): ‘‘From Sys- with support from Fonds Que´be´cois UNESCO) and Portuguese Federation tematic Musicology to Music Percep- de la Recherche sur la Nature et les of the International Confederation tion and its Applications’’; Simon Technologies, The Social Sciences for Electroacoustic Music (ICEM- Emmerson (UK): ‘‘Belief, Trust and Humanities Research Council of UNESCO), and formed a part of the Performance using New Technol- Canada, Centre for Interdisciplinary ninth edition of the Musica Viva In- ogy’’; and Takayuki Rai (Japan): ‘‘In- Research in Music Media and Tech- ternational Electroacoustic Music novation between Music and nology, and Faculty of Music, McGill Festival. The chair of the symposium Computer Technology.’’ University. was electroacoustic composer and A series of workshops and master Three invited speakers presented acoustical consultant Anto´ nio Fer- classes included Simon Emmerson: keynote addresses: Joe Paradiso (MIT reira. The artistic director was Mi- ‘‘The Poetics of Live Electronic Mu- Media Lab, Cambridge, USA), Claude guel Azguime and the executive sic’’; John Chowning: ‘‘Master Class Cadoz (ACROE-ICA, Grenoble,

News 9 France), and Michel Waisvisz, Information’’; and by Yoichi Nagash- mell, and Andy D Hunt: ‘‘Force (STEIM, Amsterdam, The Nether- ima: ‘‘Bio-Sensing Systems and Bio- Feedback Gesture Controlled Physi- lands). Several special events were Feedback Systems for Interactive cal Modeling Synthesis’’; Reynald also presented, including ‘‘The Le Media Arts.’’ A Poster Session was Hoskinson, Kees van den Doel, and Caine Instruments: A Disappearing chaired by Ichiro Fujinaga, with pre- Sidney Fels: ‘‘Real-time Adaptive Technology,’’ a special talk by alci- sentations by Sukandar Kartadinata: Control of Modal Synthesis’’; and by des lanza, director of McGill Elec- ‘‘The Gluiph: a Nucleus for Inte- Diana Young and Stefania Serafin: Downloaded from http://direct.mit.edu/comj/article-pdf/27/4/7/1854885/014892603322730460.pdf by guest on 01 October 2021 tronic Music Studio (EMS), on Hugh grated Instruments’’; Jean-Michel ‘‘Playability Evaluation of a Virtual Le Caine and on some of the elec- Couturier and Daniel Arfib: ‘‘Point- Bowed String Instrument.’’ Demo I tronic instruments he developed in ing Fingers: Using Multiple Direct was chaired by Cle´o Palacio-Quintin: the 1950s and 1960s; Max Mathews Interactions with Visual Objects to ‘‘Hyper-Flute,’’ with demos by Jesse presenting the new Radio Baton de- Perform Music’’; Eric Singer, Kevin Allison and Timothy Place: sign; and ‘‘Using Jitter to Search the Larke, and David Bianciardi: ‘‘LE- ‘‘SensorBox: Practical Audio Inter- DarkMatter for StarDust: A Multi- MUR GuitarBot: MIDI Robotic face for Gestural Performance’’; Media Performance and System String Instrument’’; Chad Peiper, Da- Kevin C. Baird: ‘‘Multi-Conductor: Analysis,’’ wherein Jana Saleh and vid Warden, and Guy Garnett: ‘‘An An Onscreen Polymetrical Conduct- Richard Boulanger performed two of Interface for Real-time Classification ing and Notation Display System’’; Boulanger’s recent real-time multi- of Articulations Produced by Violin Bill Kleinsasser: ‘‘Dsp.rack: Laptop- media pieces. Bowing’’; Zack Settel and Cort Lippe: based Modular, Programmable Digi- On Thursday, 22 May, Paper ‘‘Convolution Brother’s Instrument tal Signal Processing and Mixing for Session I was chaired by Michael J. Design’’; and by Insook Choi: ‘‘A Live Performance’’; and by Mat Lai- Lyons, with papers by Cormac Component Model of Gestural Prim- bowitz: ‘‘BASIS: A Genesis in Musi- Cannon, Stephen Hughes, and Sile itive Throughput.’’ cal Interfaces.’’ O’Modhrain: ‘‘EpipE: Exploration of On Friday, 23 May, Paper Session On Saturday, 24 May, Paper Ses- the Uilleann Pipes as a Potential II was chaired by Joe Paradiso, with sion III was chaired by Todd Wink- Controller for Computer-Based Mu- papers by Ali Momeni and David ler, with papers by Lalya Gaye, sic’’; and by Diana Young and Georg Wessel: ‘‘Characterizing and Con- Ramia Maze, and Lars Erik Holmqu- Essl: ‘‘HyperPuja: A Tibetan Singing trolling Musical Material Intuitively ist: ‘‘Sonic City: The Urban Environ- Bowl Controller.’’ Report Session I with Geometric Models’’; Matthew ment as a Musical Interface’’; was chaired by Philippe Depalle, Burtner: ‘‘Composing for the Michael J. Lyons, Michael Haehnel, with reports by Gary P. Scavone: (dis)Embodied Ensemble: Notational and Nobuji Tetsutani: ‘‘Designing, ‘‘THE PIPE: Explorations with Breath Systems in (dis)Appearances’’; and by Playing, and Performing with a Control’’; Marije A.J. Baalman: ‘‘The Sergi Jorda: ‘‘Sonigraphical Instru- Vision-based Mouth Interface’’; and STRIMIDILATOR, a String Con- ments: From FMOL to the reac- by Donna Hewitt and Ian Stevenson: trolled MIDI-Instrument’’; Scott Table*.’’ Report Session III was ‘‘Emic—Extended Mic-stand Inter- Wilson, Michael Gurevich, Bill Ver- chaired by Gideon D’Arcangelo, with face Controller.’’ Report Session V plank, and Pascal Stang: ‘‘Microcon- reports by Motohide Hatanaka: was chaired by Perry Cook, with re- trollers in Music HCI Instruction— ‘‘Bento-Box: A Portable Ergonomic ports by Tina Blaine and Sidney Fels: Reflections on our Switch to the Musical Instrument’’; Hiroko Shi- ‘‘Design Issues for Collaborative Mu- Atmel AVR Platform’’; and by Tue raiwa, Rodrigo Segnini, and Vivian sical Interfaces and Experiences’’; Haste Andersen: ‘‘Mixxx: Towards Woo: ‘‘Sound Kitchen—Designing a Andy Hunt and Ross Kirk: ‘‘Midi- Novel DJ Interface.’’ Report Session Chemically Controlled Musical Per- Grid: Past, Present and Future’’; Loic II was chaired by Sidney Fels, with formance’’; Joel Ryan and Christo- Kessous and Daniel Arfib: ‘‘Biman- reports by Serge Lemouton, Diemo pher Salter: ‘‘TGarden: Wearable uality in Alternate Musical Instru- Schwarz, Nicola Orio, and Norbert Instruments and Augmented Physi- ments’’; and by Paul Modler and Schnell: ‘‘Score Following: State of cality’’; and by David Ventura and Tony Myatt: ‘‘An Experimental Dic- the Art and Beyond’’; Caroline Kenji Mase: ‘‘Duet Musical Compan- tionary of Hand Gestures for Expres- Traube, Philippe Depalle, and Mar- ion: Improvisational Interfaces for sive Control of Musical Parameters celo Wanderley: ‘‘Indirect Acquisi- Children.’’ Report Session IV was in Realtime.’’ Report Session VI was tion of Instrumental Gesture Based chaired by Bill Verplank, with re- chaired by Marcelo M. Wanderley, on Signal, Physical and Perceptual ports by David M Howard, Stuart Ri- with reports by Teresa Marrin

10 Computer Music Journal Nakra: ‘‘Immersion Music: A Pro- Additional information can be Concert 1, ‘‘Words & Music: Mu- gress Report’’; and by Matt Wright, found at www.nime.org/, and confer- sic as Grammar, Multiplicities, Adrian Freed, and Ali Momeni: ence proceedings can be found at Shades of Meaning,’’ included Chris ‘‘OpenSound Control: Past, Present, www.music.mcgill.ca/musictech/ Mann’s Plato Songs (2002), Joel and Future.’’ Demo II was chaired by nime/onlineproceedings/home.html. Chadabe and Chris Mann’s Many Tina Blaine, with demos by David Times Chris (2001), and Joan La Bar-

Merrill: ‘‘Face-Tracking for Gestural bara and Kenneth Goldsmith’s 73 Po- Downloaded from http://direct.mit.edu/comj/article-pdf/27/4/7/1854885/014892603322730460.pdf by guest on 01 October 2021 and Continuous Control of Parame- ems (1993). In Plato Songs, Chris terized Audio Effects’’; Eric Singer: Winners of the SCRIME 2003 Mann performed the space as larynx: ‘‘Sonic Banana’’; David Muth and Ed F is always speaker 5, A is always Burton: ‘‘Sodaconductor’’; Emmanuel Competition speaker 7, T is always 12, etc. The Fle´ty and Marc Sirguy: ‘‘EoBody: a piece featured 16 speakers, 42 pho- Follow-up to AtoMIC Pro’s Technol- The winners of the SCRIME 2003 nemes, one voice, real-time spectral ogy’’; and by Mark Argo, Takuro Competion have been announced. analysis software solution by Hol- Lippit, and Michael Sharon: The Prix SCRIME was awarded land Hopson and R. Luke DuBois, ‘‘NIME03@ITP: Demonstration of jointly to Apostolos Loufopoulos (En- and text by Chris Mann. In Many Student Prototypes.’’ gland) and Pascal Baltazar (France); Times Chris, Chris Mann read what NIME-03 also featured three eve- the Prix du Public was awarded to he had written, and Joel Chadabe ning performances. On Thursday, 22 Apostolos Loufopoulos. The two electronically multiplied and trans- May, F.W. Murnau’s silent film prize winners were chosen from formed his voice, sending it in all di- among the six pre-selected finalists Faust (1926) was accompanied by rections around the room, with the presented in concert. A CD of the fi- The Wireless Duo: Denis James (or- aim of creating a fascinating verbal nalists, co-edited by the INA-GRM, gan and theremin) and Mark Gold- and musical fabric. In 73 Poems, Joan will be made in the year following stein (Buchla Lightning) in live La Barbara performed her timbral the competition. performance. The Friday, 23 May, settings and transformations of Ken- The Studio de Cre´ation et de Re- concert featured digeridoo, Indian neth Goldsmith’s words, in an effort cherche en Informatique et Musique drum, and guitar, all enhanced by to bring poetry and sound into an in- E´ lectroacoustique (SCRIME) is a cen- sensors and computer-generated timate symbiosis. ter of activity bringing together art- sounds, with unusual musical inter- In Concert 2, ‘‘Ne(x)tworks,’’ a ists and scientists. Its objective is to faces including graphics tablets, pres- new group of performing composers make it possible to benefit first from sure sensitive pads, and even human/ explored original electroacoustic mu- a transfer of scientific knowledge and biological interfaces. The performance sic, including previews of two new second from musical expertise. The featured a live Internet link between operas by Kenji Bunch and Joan La members of SCRIME are for the McGill and Princeton University. Barbara in addition to works by other most part researchers in musical Performers included Andrew Brouse, members of the group. The group computation from the Laboratoire Gary Scavone, Thomas Ciufo, Daniel members were Joan La Barbara, Bordelais de Recherche en Informa- Arfib, Loic Kessous, Jean-Michel voice; Cornelius Dufallo, violin; tique (LaBRI) and composers from Couturier, and Perry Cook. The Sat- Jesse Mills, violin; Kenji Bunch, vi- the National Academy of the Bor- urday, 24 May, concert featured ola; Rubin Kodheli, cello; Tim Kiah, deaux region and the Octandre asso- video cameras used to control sounds double bass; Chris Vatalaro, percus- ciation. by tracking hand and arm move- sion; Brian McWhorter, trumpet; ments, traditional Turkish stringed Taimur Sullivan, saxophones; and instrument outfitted with sensors, Chris Mcintyre, trombone. electromyogram (EMG) biological Concert 3 featured the music of sensors, microphone stand control- EMF Concerts at the Chelsea Alvin Lucier. A pre-concert public ler, and live improvised Faust Music Art Museum conversation with Mr. Lucier was On Line (FMOL) performance. Per- moderated by Joel Chadabe. The con- formers included John Young, Bob Electronic Music Foundation (EMF) cert program included Music for Solo Gluck, Donna Hewitt, Joel Chadabe, presented three concerts at the Chel- Performer (1965), Bird and Person Yoichi Nagashima, Sergi Jorda`, and sea Art Museum, New York, New Dyning (1975), Disappearances Robin Davies. York, on 3, 4, and 5 June 2003. (1994), and Wave Songs (1998). In

News 11 Music for Solo Performer for per- ire, where he met and married the Sinfonia is a conceptual and aural former with electroencephalogram American singer Cathy Berberian. collage, weaving together excerpts (EEG) pickup, amplifiers, and percus- The couple traveled frequently to the from the writings of Claude Levi- sion instruments, Mr. Lucier trans- United States, where Berio studied Strauss, Samuel Beckett, and others mitted his amplified alpha brain with Luigi Dallapiccola at Tangle- with musical quotes composers such waves to vibrate percussion instru- wood, and where he became ac- as Claude Debussy, Arnold Scho¨n- ments placed around the hall. In Bird quainted with the New York berg, and Alban Berg against a Downloaded from http://direct.mit.edu/comj/article-pdf/27/4/7/1854885/014892603322730460.pdf by guest on 01 October 2021 and Person Dyning for performer modernist scene. Berio completed his ground comprised of the second with microphones, amplifiers, loud- studies in 1953, and his introduction movement of Mahler’s Symphony speakers and electric birdcall, Mr. to the European musical avant garde No. 2. In this piece he also freely in- Lucier utilized time delays between came the following year at the corporated his own previous work, birdcalls and microphones to pro- Darmstadt summer school, which he reorchestrating his 1968 O King as duce heterodyning, which resulted in attended regularly through 1959. its second movement. Quotation, ad- phantom sound images. In Disap- Here he met Pierre Boulez, Karheinz aptation, and recontextualization pearances the Ne(x)tworks string Stockhausen, Gyo¨ rgy Ligeti, Mauri- were common themes, as in his se- quartet, realizing Alvin Lucier’s po- cio Kagel, and others of the new gen- ries of Chemins based on Sequenza etic and musical instructions, altered eration of composers. During this II, his settings of the 1964 Folk timbre and produced special acoustic period he and Bruno Maderna co- Songs, and his completion of Gia- phenomena through slight variations founded the Musical Phonology Stu- como Puccini’s unfinished opera in intonation. In Wave Songs for fe- dio at Radio Televisione Italia (RAI) Turandot. male voice with pure wave oscilla- in Milan. Here Berio composed his Berio maintained an active teach- tors, Joan La Barbara sang with seminal Thema (Omaggio a Joyce) ing schedule throughout most of his precisely pitched intonation, explor- and the radio piece Visage, both of life, spending the period of 1962– 1972 in the United States at Mills ing a musical space between pure which were built around the voice of College, Harvard University, and waves and slow pulsing rhythms that Cathy Berberian. The voice would The Julliard School where he resulted from the delicate interaction continue to play a central role in Be- founded the Julliard Ensemble. He of a live performer microtonally in- rio’s music throughout his career. returned to Europe in 1972, and from teracting with oscillators. Berio’s compositional language 1973 to 1980 he headed the electro- The series was produced in col- was both lyrical and intellectually acoustic department of IRCAM in laboration with Composers’ Forum, rigorous, grounded in the classics Paris. In 1987 he founded the Centro Inc., with support from the New while constantly exploring new Tempo Reale in Florence. The re- York State Council on the Arts. ground. He had an ongoing interest search activities at Tempo Reale Equipment was provided by Roland in performance virtuosity, and in served Berio’s continuing interest in Corporation. Sequenza no 1 1958 composed for electroacoustic music through the solo flute, the first of a series of four- development of tools for real-time teen solo works that spanned 44 sonic transformation and spatializa- Luciano Berio 1925–2003 years and most of the instrumental tion. His recent works Outis (1996), families. His music was also richly Ofanı`m (1988–1997), Altra voce Italian composer Luciano Berio died influenced by contemporary litera- (1999) (all discussed in Computer on 27 May 2003 in a Rome hospital ture and by ideas from such disci- Music Journal 27:2), as well as Cron- at age 77, following a battle with plines as anthropology, phonology, aca del Luogo (1999), demonstrate cancer. Considered one of the great and semiotics. Among his chief col- his dedication to extending the sonic composers of the second half of the laborators were the poet Eduardo possibilities of acoustic instruments 20th century, Berio was born in 1925 Sanguinetti, the philosopher and and the voice through electronic to a musical family in Oneglia, in novelist Umberto Eco, and the emi- means, an organic approach that was the northern Italian coastal province nent writer Italo Calvino, with first manifested in Omaggio a Joyce. of Liguria, where he received his first whom he created two operas. A work Berio was not interested in ‘‘new’’ musical education from his father of particular significance is Berio’s sounds, but in nurturing the inner and grandfather. 1968–1969 piece Sinfonia, for orches- essence of the sounds he knew. Following World War II, in 1945 tra and eight amplified voices. Writ- Berio is survived by his third wife, he enrolled in the Milan Conservato- ten during his tenure at Julliard, Talia Pecker Berio, as well as by two

12 Computer Music Journal daughters (Cristina and Marina), 1973 at the Centro Nazionale Univ- presented a number of concerts and three sons (Stefano, Dani, and Yoni), ersitario di Calcolo Elettronico programs about contemporary music four grandchildren, and one great- (CNUCE), Pisa, and held a post as for the Italian State Radio (RAI). He grandchild. professor of electronic music in the was the author of many articles pub- Conservatory L. D’Annunzio in Pes- lished in Rivista IBM, Musica, 1985 cara from 1974 to 1980. He subse- La Musica, Musica Domani, Musica/

quently held a similar position at the Realta` , Perspectives of New Music, Downloaded from http://direct.mit.edu/comj/article-pdf/27/4/7/1854885/014892603322730460.pdf by guest on 01 October 2021 Riccardo Bianchini 1946–2003 Conservatory G. Verdi in Milan be- and Lettera dall’Italia (Istituto fore settling at the Conservatory dell’Enciclopedia Italiana), and he Composer, software developer, au- Saint Cecilia in Rome. Over the was author or co-author of several thor, and teacher Riccardo Bianchini years he also organized and taught books including Computer Music: A passed away on 9 June 2003 while at many workshops and courses in Manual of Musical Informatics (in work at the Conservatory of Rome, computer music throughout Italy Italian), The Csound Book (MIT where he was professor of electronic and in South America. Press), and Virtual Sound, Sound music. Mr. Bianchini was born in Riccardo Bianchini’s musical ac- Synthesis with Csound for PC and Venice and studied piano, composi- tivities included the founding of En- Mac (ConTempo). As a software de- tion, and electronic music at the semble Edgar Vare`se (1977) and veloper he was the creator of Hyper- Conservatory G. Verdi, concurrent Farfensemble (1992), both ensembles music, a software package for with studies in mechanical engineer- offering a repertoire that ranged from learning music, and of WCShell, a se- ing at Milan Polytechnic University. Venetian Renaissance to contempo- ries of programs for writing, editing, He began work in computer music in rary music. He also produced and and generating Csound scores.

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