E´Ucue Electroacoustic Concerts at Concordia University IV

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EúCuE Electroacoustic Concerts SEAMUS (SEAMUS CD 11) and by (IV BIMESP 2002) was held on 2–11 at Concordia University the Canadian Electroacoustic Com- December 2002 at SESC Vila Mari- munity and Productions E´ lectro Pro- ana and Instituto de Artes da Unesp E´ lectroacoustiques universite´ Con- ductions (the compilations Presence (IA) Ipiranga Brazil. The event was a cordia university Electroacoustics III and Cache 2002). production of Studio PANaroma for (E´ uCuE) presented the first ten con- Concerts 6–10 in the series were Electroacoustic Music of Unesp certs of Series XXI during October held on 6–8 November. Concert 6 in- (State University of Saõ Paulo) under and November 2002 at Oscar Peter- cluded pieces by James Bentley, Mar- the direction of the Composer Flo son Concert Hall on Concordia Uni- tı`n Fumarola, Steven Naylor, Sylvi Menezes. 57 acousmatic and electro- versity’s Loyola campus, Montreál. macCormac, Grant Ford, Dale Per- acoustic compositions were pre- The October concerts presented kins, Ian Chuprun, Rick Nance, and sented in 12 themed programs, works from both young composers Russell Pinkston. Concert 7 included which included concerts and master and masters in the field. All presen- pieces by John Duesenberry, Martı`n classes. tations were multi-speaker concerts Fumarola, Thomas Gerwin, Laurie The opening concert featured the using 20 loudspeakers. Radford, Peter Malanka, David Bere- winners of the International Electro- The 2 October 2002 program in- zan, David Hirst, Ryan Calamba, acoustic Music Contest of Saõ Paulo cluded selections from the Canadian Ewan Stefani, and Elainie Lillios. (IV CIMESP 2001) and coincided with ´ Electroacoustic Community’s Jeu de Concert 8 on was a special CD the publishing of the CD ‘‘MUSICA temps/Times Play 2002 competition, launch program, featuring works MAXIMALISTA * MAXIMAL with works by R. Dominique Bassal, from Cache 2002, published by the MUSIC,’’ Vol. 8: Winners of the IV Rodrigo Caballero, Alison Chung- CEC and PeP. The program included CIMESP 2001. The concert included Yan, Terence Huang, Adis Huse- works by Brett Ziegler, Carey Dodge, works by Kent Olofsson Alinea I-III jnagic, Tomasz Krakowiak, Martin Brian Garbet, Andrew Wedman, Adis (1997–2000), First Prize; John Young Messier, Kelly Nairn, Catherine Pa- Husejnagic, Martin Messier, Terence Liquid Sky (1998), Second Prize; tha, Eric Paul, Dan Nyborg and An- Huang, Dan Nyborg and Andrew Gilles Gobeil / Arturo Parra Soledad drew Watson, Andrew Wedman, and Watson, David Paquette, Dominique (1998–2000), Public Prize; Andre Bar- Brett Ziegler. Bassal, and Jean-Michel Robert. Con- tetzki Rondeaux Trouve´s (2000), The 3 October program included a cert 9 included pieces by Adrian Honorable Mention; Gary Berger public lecture about sound diffusion Moore, James Caldwell, Martin Got- Lichtempfindliche Erinnerungen by Christian Calon, followed by a frit, Tony K. T. Leung, Tung-Lung (2000), Honorable Mention. carte-blanche concert with Calon. Lin, Kristi Allik, Sophia Male, Grant Day two began with Contempo- The 4 October events included a Chu Covell, Colby Leider, James rary Program I, including works by concert of Concordia University Stu- Mobberley, Paul Oehlers, and Eric James Bentley, Konstantinos Kara- dent Works followed by an evening Chasalow. Concert 10 included thanasis, Paolo Geminiani, Simon program In Profile: the ‘‘Radio Art pieces by Michael Matthews, Hideko Hall, Elio Martusciello, Jorge Antu- Companion’’ from New Adventures Kawamoto, Richard Zvonar and Rob- nes, and John Young. The day con- in Sound Art, with works by Moya, ert Black, Pascale Trudel, Camille cluded with the Program of the Jean-François Denis, Elainie Lillios, Goudeseune, Matthew Kober, David Studio PANaroma, a co-realization of and David Berezan. R. Mooney, Rodney Waschka II, and Groupe de Musique Experimentale For the November series, as part of Scott A. Wyatt. Bourges (GMEB, France) and Studio ´ the SEAMUS International Electro- Full information on the EuCuE PANaroma, with works by Paulo von acoustic Music Month, E´ uCuE pre- 2002–2003 Series XXI concert pro- Zube, Maurıćio Wera´, Fa´bio Taveira, sented works in collaboration with grams can be found on the Web at Ignacio de Campos, and Sergio Kafe- the Canadian Electroacoustic Com- music.concordia.ca/ jian. Day three featured the Program munity and SEAMUS. All concerts EuCuE_Concerts.html. of the Countries: Chile with works were presented on the E´ uCuE multi- by Jose´ Miguel Candela, Jose´ Miguel speaker sound projection/diffusion Fernandes, Cecı´lia Garcıá-Gracia, system with 20 loudspeakers in the IV BIMESP 2002 and Oscar Carmona. This was fol- Oscar Peterson Concert Hall. The lowed by Contemporary Program II pieces on all concerts came from The Fourth International Biennial for with David Alarco´ n Folgado, Jon Ave- recent CD releases produced by Electroacoustic Music of Saõ Paulo yard, Francesco Biasiol, David Bere-

News 9

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892603322022637 by guest on 27 September 2021 zan, Pablo Silva, and MicheleI purely electroacoustic version of Pul- Browser, Video processing in Jitter Biasutti. sares (1998–2000); Colores (2000); (Cycling74), CreamWare Noha Contemporary Program III in- Electroacoustic Requiem in Memo- Physical model synthesizer, Arkaos cluded Ludger Bru¨ mmer, Martin riam of the Poet Philadelpho Me- VJ 2.2, eoBody new controler (Ircam- Gotfrit, John Gibaon, Lelio Camil- nezes (1960–2000); and the Brazilian MESI), DIPS (Kunitashi College), leri, Jean Louis Hargous, and Vladi- premiere of L’Itine´raire des Re´so- Moog55 (Arturia), and EAX 3D audio mir Djambazov. Program II of the nances (2001). (Creative Labs). Resonances also fea- CIMESP (Honorable Mentions of the Full program information for IV tured concerts and sound installa- IV CIMESP 2001) included Augusto, BIMESP 2002 can be found on the tions using interactive systems (R. Panayiotis Kokora, Natasha Barrett, Web at sites.uol.com.br/flomenezes/ Minard, C. Le Prado, J. Remus, L. Theodore Lotis, and Elizabeth Ander- programa-BIMESP-2002.htm. Dandrel, O. Koechlin, G. Chiron, son. Contemporary Program IV in- CARROUSO Sound walls, Th. Lan- cluded Monique Jean, Steven Naylor, nette, A. Mansoux, A. Bonardi) and Joaó Mendes, Rau´ l Minsburg, Juan more in the Sonic Process exhibition Manuel Marrero Rivero, and Kent Resonances 2002 and ISMIR at Centre Pompidou. Olofsson. 2002 at IRCAM ISMIR began with an afternoon of The second week began with a three concurrent tutorials by Geof- master class with Flo Menezes on The Third International Conference froy Peeters and Ge´rard Assayag ‘‘The Electroacoustic Music through- on Music Information Retrieval was ‘‘Digital Music Representations’’; out History,’’ followed by the His- held on 13–17 October at IRCAM, in George Tzanetakis ‘‘Music Informa- toric Program, featuring works by conjunction with the Resonances tion Retrieval for Audio Signals’’; John Cage, Pierre Henry, Vladimir 2002 International Convention on and Shlomo Dubnov ‘‘Advanced Sta- Ussachevsky, Edgard Vare`se, Iannis Technologies for Music. tistical Methods for Audio Signal Xenakis, and Ivo Malec. Additional Following the ISMIR program, Processing.’’ The formal conference master classes with Flo Menezes Resonances 2002 continued through program started with welcome mes- were titled ‘‘Acousmatic Music: a 20 October. A one-day symposium sages by Don Byrd (chair), Bruno Ra- Theater for the Ears’’ and ‘‘Morphol- was held at the Cite´ de la Musique, cine (President of the Pompidou ogy of Interaction.’’ The latter pre- on ‘‘Musical Information and Re- Center), Bernard Stiegler (IRCAM Di- ceded the Program of Interaction, sources for the Music Lover’’ and an rector), and Michael Fingerhut with works by Flo Menezes, Lucas electro-analog concert at Glaz’art (ISMIR 2002 general chair). The Vargas, and Silvio Ferraz. with Atau Tanaka, Interlope, Proto- opening keynote speech by Douglas The Biennial included two special Type Live, Herrschneider, and Djulee Hofstadter was on the topic ‘‘Varia- programs honoring individual com- Jay. tions on the Theme of Musical Simi- posers. Program of Personnage I, Resonances 2002 concluded with larity.’’ homage to François Bayle, featured an Open House Weekend at IRCAM Over thirty papers were presented the first performance of La Forme du on the subject of New Instruments during sessions on similarity and rec- Temps est un Cercle (1999–2001). with talks/performances from M. ognition; summarization; indexation, Program of Personnage II, honoring Wanderley, D. Wessel, N. Schnell, A. classification, and analysis; usability; Flo Menezes on his 40th birthday, Tanaka, M. Waisvisz, R. Causse´, X. query by example; preprocessing: en- also commemorated the publishing Rodet, A. Camurri, D. Shea, N. Orio, coding, segmentation; and systems. of the revised second edition of his M. Battier, D. Arfib, R. Zolfo, Th. A complete listing with abstracts book Apoteose de Schoenberg—Tra- Coduys, S. Goto, J. Flury, S. Delau- may be found at ismir2002.ismir tado sobre as Entidades Harmoˆ ni- bier, P. Moullet, and G. Reibel, and .net/papers.html. Posters and short cas, as well as the release of the CD concerts with M. Lanza, O. papers were also presented in ses- ‘‘MU´ SICA MAXIMALISTA * MAXI- Schneller, B. Pauzet, R. Auzet, Ph. sions on preprocessing and represen- MAL MUSIC,’’ Vol. 7 – Acousmatic Manoury, and B. Lubat in a final Jazz tations; extraction and analysis; Octophonic Compositions by Flo session with F. Pachet’s Continuator. query by example; corpora and data- Menezes: Sinfonias and Harmonia Forum IRCAM presented new bases; and usability. A listing with das Esferas. The concert included software such as Spat Pluggo, abstracts is at ismir2002.ismir.net/ Harmonia das Esferas (2000); a AudioSculpt 2, CUIDADO Music posters.html.

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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892603322022637 by guest on 27 September 2021 An evening concert at IRCAM Es- Drama, the Digital Heritage of ence.’’ More information on Tempo pro included works by Chan˜ aral Opera’’; Augusto Sarti (Dip. di Elet- Reale may be found on the Web at Ortega-Miranda, Farangis Nurulla- tronica e Informazione Politecnico di www.centrotemporeale.it. Khoja, Francesco Filidei, Jiyoun Milano): ‘‘The ALMA Project: A Choi, and Luca Antignani. Block-based Approach to the Model- A special metadata session of in- ling of Acoustic Interactions’’; Paolo vited talks was chaired by Michael Nesi (Dipartimento di Sistemi e In- Fingerhut, with presentations by Hu- formatica, Universita` degli Studi di Winners of Prize MUSICA NOVA gues Vinet and Michael Fingerhut Firenze): ‘‘The Interactive Music- 2002 (‘‘Opening Remarks’’); Leonardo Network and Multimedia Music’’; Chiariglione (‘‘Technology and Art— Antonio Camurri’’; (InfoMus—Labor- Winners of the Prize Musica Nova Putting Things in Context’’); Ted atorio di Informatica Musicale Uni- 2002 in the International Electro- Tanner (‘‘Towards Harmonization of versita` di Genova DIST): ‘‘The acoustic Music Composition Compe- Metadata’’); Harriette Hemmasi Three-year EU Project IST-MEGA: tition were announced on 10 (‘‘Why not MARC?’’); David Datta Multisensory Expressive Gesture Ap- November 2002 in Prague, Czech (‘‘Managing Metadata’’); and Eric plications’’; Davide Rocchesso (Di- Republic. The competition was spon- Scheirer (‘‘About this Business of partimento di Informatica sored by the Society for Electro- Metadata’’). dell’Universita` di Verona): ‘‘SOb: acoustic Music of the Czech The conference concluded with The Sounding Object’’; Antonio Ca- Republic Ministry of Culture, Mu- three concurrent panels at IRCAM: murri (InfoMus—Laboratorio di In- nicipal Authorities of Prague, and ‘‘Music Information Retrieval Evalu- formatica Musicale DIST Universita` the Foundation Czech Music Fund ation Frameworks,’’ moderated by J. di Genova) and Giovanni De Poli under the auspices of the Czech Mu- Stephen Downie; ‘‘OMRAS’s Ap- (Centro di Sonologia Computazion- sic Council. The jury, consisting of proach to Music Information Re- ale, DEI Universita` di Padova): Rainer Bu¨ rck, Lenka Dohnalova´, Ju- trieval in the Real World,’’ ‘‘Computational Models of Expres- raj Duris, Jan Jira´sek, Pavel moderated by Tim Crawford; and sive Gesture in Non-verbal Commu- Kopecky, Rudolf Ruzicka (president ‘‘Similarity in Music,’’ moderated by nication: Real-time Analysis and of the jury), and Milan Slavicky, con- Ludger Hofmann-Engl. Synthesis of Expressive Content in sidered 125 pieces from 30 countries. Performing Arts’’; Rudolf Rabenstein The director of the competition was (Multimedia Communication and Lenka Dohnalova´. Signal Processing, Telecommunica- In Category A (compositions of au- Tempo Reale Workshop: The tions Laboratory University tonomous art electroacoustic music) Sound of Europe Erlangen- Nuremberg): ‘‘Issues in the ﬁrst prize and a special prize for Physical Block-based Sound Synthe- composition by a young composer A one-day workshop was held on 14 sis’’; G. Scali and Joe Yates (Space were awarded to Ka-ho Cheung December 2002 at Tempo Reale in S.p.a), Philip Kerr (Centre for Music (China) for Lost Souls Sketches. Hon- Florence, on the topic of European Technology, Glasgow University): orary mentions were given to Ma- projects on sound and music. The ‘‘An Architecture for Synchronized thew Adkins (Great Britain) for workshop introduced and presented Streaming of Opera on Broadband In- Aerial and to Mario Valenti (Italy) results from several European proj- ternet’’; Roberto Bresin (Dept. of for Vocali. In Category B (composi- ects on sound: AGNULA (A GNU/ Speech, Music, and Hearing Royal tions for acoustic instrument/voice/ Linux Audio distribution), ALMA Institute of Technology, Stockholm): ensemble and electroacoustic media) (American Loudspeaker Manufactur- ‘‘Sounding Objects for the People’’; the ﬁrst prize was awarded to Mario ers Association), Interactive Music Paolo Nesi (Dipartimento di Sistemi Marcelo Mary (Argentina) for Aar- Network MEGA, Open-Drama, and e Informatica, Universita` degli Studi hus. Honorary mentions were given SOb. Presenters included Nicola Ber- di Firenze): ‘‘Multimedia Music and to Michele Biasutti (Italy) for Ricer- nardini (Centro Tempo Reale, Fi- the Internet Age’’; and Marco Trevi- care and to Kotoka Suzuki (Japan) for renze): ‘‘AGNULA: A GNU/Linux sani (Centro Tempo Reale, Firenze): Slipstream. A special prize for Czech Audio Distribution’’; Gabriele Scali ‘‘Building Full Free Software Distri- composition was awarded to Ondrej (Space S.p.a): ‘‘Introduction to Open- butions—The AGNULA experi- Ada´mek for Strepy z Kibery.

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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892603322022637 by guest on 27 September 2021 Winners of the Spatialization ticipant presented another piece in 1990, ISEA (The Inter-Society for Competition ‘‘The Space of drawn at random from the list of the Electronic Arts) is an interna- ‘‘classic’’ works as well as the piece tional non-profit organization dedi- Sound’’ 2002 chosen by the participant. The par- cated to the promotion and ticipant prepared in advance all development of the electronic arts. On 6 October 2002, in conjunction works from the list of ‘‘classics’’ and ISEA’s membership and collaborators with the Ninth International Acous- the title of the work drawn at ran- consist of a wide range of individuals matic Festival in Brussels, prizes dom from this list was communi- and institutions involved in the crea- were awarded for the interpretation cated to the participant on the eve of tive, theoretical, and technological of acousmatic works in the competi- his or her presentation. aspects of the electronic arts. tion ‘‘The Space of Sound.’’ The First Orai is a Japanese word, meaning Prize of € 2500, provided by the comings and goings, communica- Fonds Europeén des Socie´te´s tion, and contact, as well as streets d’Auteurs pour la Musique, was CEMAT Tutorial in Rome and traffic. About 200 years ago, a awarded to Theodoros Lotis. The Nagoya A tutorial on the numerical treat- book titled [Orai] was com- piled and published in Nagoya and it Second Prize of a set of loudspeakers ment of the sound signal in musical was used as a kind of textbook for donated by Fundamental Acoustic applications was held on 2–3 Decem- teaching and writing. Through dis- Research (FAR) was awarded to Da- ber 2002 at the Goethe Institute in cussions around art and its interdis- vid Berezan. The jury consisted of Rome. Scientific direction was by ciplinary studies, ISEA2002 François Bayle, Dimitri Coppe, Fran- Giuseppe Di Giugno, with the partic- NAGOYA [Orai] hoped to provide an cis Dhomont, Thomas Kessler, ipation of Maurizio Giri, Fabio Cifar- opportunity to create a new text in Adrian Moore, Hans Tutchkhu, and iello Ciardi, and Carlo Di Giugno. this electronically networked soci- Annette Vande Gorne. Subjects covered included a review ety. Participants in the competition of fundamental concepts of mathe- ISEA2002 activities included pa- were required to prepare one piece matics and acoustic physics, numeri- pers, panels, posters, institutional chosen by themselves as well as a cal treatment of the sound signal, presentations, tutorials, round tables, number of pieces provided by the Fourier analysis and synthesis, spa- workshops, exhibitions, and perfor- competition organizers. The partici- tialization, and physical models. mances. In keeping with its interdis- pants received a list of ‘‘classic’’ The tutorial was a program of Fed- ciplinary nature ISEA programs were works from which were drawn at erazione CEMAT (Centri Musicali extremely diverse, with presenta- random the works they were re- Attrezzati) [Federation of Electro- tions on topics ranging from finger- quired to perform. They also re- acoustic Music Centers], an organi- tracking systems to interactive video ceived a compulsory piece chosen by zation founded in 1996 with the to sound art. the preselection jury of the ‘‘Meta- purpose of promoting the activity of Performance programs held in morphoses’’ composition competi- Italian computer music research and various venues featured a mix of tion. The participants then sent a production centers. Giuseppe Di computer interactivity, dance, elec- graphic transcription of this compul- Giugno is the honorary president of tronic music, poetry, film and video, sory piece to Musiques et Re- CEMAT. Information about the Fed- and other new media forms, includ- cherches for evaluation. eration and its programs, in Italian ing artists such as DJ I, Robot Sound During the period 2–6 October and English, can be found at System; Jean Piche´; Alain Thibault 2002, the competition took place in www.cematitalia.it/cemat/. and Yan Breuleux; Suguru Goto; and two stages: In the first stage, the par- Atelier Avant Austria. Electronic ticipants presented one piece drawn music concerts held on 28–29 Octo- at random from the list of ‘‘classic’’ ISEA2002 in Nagoya Japan ber at the Aichi Arts Center included works as well as the compulsory performances by Cat Hope Fetish; piece imposed by the preselection The Eleventh International Sympo- NOBADIMI House de Tango; Seiji jury accompanied by the graphic sium on Electronic Art (ISEA2002) Nagai Group (Seiji Nagai, Koji Ka- transcription. On the basis of the was held in Nagoya, Japan on 27–31 wai, Minoru Yonemoto, Koichi Wa- first stage a maximum of six finalists October 2002, with the theme Orai. tanabe) Chaosmos (electronic noise were selected for the second stage. This was the first ISEA symposium improvisation); Akemi Ishijima During the second phase, each par- in Asia. Founded in The Netherlands TIME DROPS; Elsa Justel Destellos;

12 Computer Music Journal

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892603322022637 by guest on 27 September 2021 Andreas Weixler WAON; and Lidia Malcolm and Ric Hudgins) (Within 9–11 December 2002, beginning with Zielinska JUST TOO MANY the Human Feedback Loop). a keynote presentation by Karl-Heinz WORDS for tape. The San Diego concerts included Brandenburg (Fraunhofer IIS and Full program information on performances by Maxime De La Technical University Ilmenau, Ger- ISEA2002 can be found on the Web Rochefoucauld (AUTOMATES KI); many): ‘‘Audio Coding and Elec- at www.isea.jp. Tim Kreger (Data See); Javier Alejan- tronic Distribution of Music.’’ dro Garavaglia (NINTH (for viola Day One included sessions on mu- and computer)); Ryan Wise/ sic distribution and music retrieval, Y.A.C.H.T; Josh Russell; Yoshiko NWEAMO 2002 in Portland followed by poster sessions and dem- Ando with soprano saxophonist Lee onstrations. Session One, ‘‘Music and San Diego Elderton (Tsubasa for soprano saxo- Distribution,’’ was chaired by Paolo ם (phone and computer ; Irving Or- Nesi (University of Florence, Italy). The fourth annual North-West ser; Lisle Ellis, Marcos Fernanades, Session Two,‘‘Music Retrieval,’’ was Electro-Acoustic Music Organization and Robert Montoya; DJ I, Robot chaired by Kia Ng (ICSRiM, Univer- (NWEAMO) Festival was held on the Sound System; Jeffery Byrd (Raft of sity of Leeds, UK). Day Two included weekends of 4–5 October 2002 in the Medusa); Joseph Waters with twelve presentations in three ses- Portland, Oregon, and 11–12 October percussionist Joel Bluestone (Heart of sions, followed by a social gathering in San Diego, California. This was Mephisto); CMAU (Kendra Juul, the ﬁrst two-city version of the festi- Mark Bartscher, Doug Michael, and dinner. Session Three, ‘‘Educa- val, which was previously held in Sudhu Tewari) (Improvisation #19); tion/Learning/Cooperative Work,’’ Portland alone. Joseph Waters, Pro- Mark Cooley; Matt Davignon (Tape was chaired by Max Mu¨ hlha¨user. fessor of Electro-Acoustic and Media Recorder0 project; Rodrigo Sigal with Session Four, ‘‘Digital Rights and Composition at San Diego State Uni- marimbist Robert Esler (Lejos del Law,’’ was chaired by Vincent Puig versity, is the Founder and Artistic Silencio); and Fussible/Nortec Col- (IRCAM, Paris, France). Session Five, Director of NWEAMO. The organi- lective. ‘‘Digital Watermarking,’’ was chaired zation’s mission is to forge connec- The NWEAMO Festival was made by Christoph Busch (Fraunhofer-IGD, tions between the classical possible with assistance from the Re- Darmstadt, Germany). Day Three in- electronic avant-garde and artists gional Arts and Culture Council, the cluded six presentations in two ses- working at the experimental fringes Quebec Art Council, and San Diego sions. Session Six, ‘‘Audio Coding of electronica. State University. More information, and Music Processing,’’ was chaired The Portland concerts included including extensive photo documen- by Michael Arnold (Fraunhofer-IGD, performances by Ryan Wise/ tation, can be found at Darmstadt, Germany). Session Y.A.C.H.T; Michael Theodore with www.nweamo.org. Planning for Seven, ‘‘Music Notation,’’ was tablist Terry Longshore (Goatsong); NWEAMO 2003 has begun, and pro- chaired by Aymeric Zils (Sony CSL, Maxime De La Rochefoucauld posals are welcome. (AUTOMATES KI); CMAU (Kendra France). Juul, Mark Bartscher, Doug Michael, Conference proceedings are pub- Sudhu Tewari) (Improvisation #19); lished by conference patron IEEE Ether Bunnies; Joseph Waters with WEDELMUSIC-2002 Computer Society Technical Com- percussionist Joel Bluestone (Heart of and MusicNetwork Open mittee on Computer Generated Mephisto); Tim Kreger (Data See;) Workshop 2002 Music. Additional information on Orser; Milena Iossifova WEDELMUSIC-2002 can be found ם Irving (voiceMutator and chipRandom- The WEDELMUSIC-2002 Confer- on the Web at www.wedelmusic.org/ Player); and Twine/Phase 4 (Greg ence took place in Darmstadt on wedelmusic2002.

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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892603322022637 by guest on 27 September 2021