About This Issue
Francis Dhomont (B. 1926) represents
a rare breed of composer, one whose
career stretches from the earliest
years of musique concrète to the
present. He started composing
musique concrète as a young man in
France in the 1940s, and still contin-
ues to create new works every year,
having completed some 50 Stücke
over the last three decades. This issue
of Computer Music Journal begins
with an interview with Mr.
Dhomont, whose profound influence
manifests itself in what has come to
be known as the Montreal school of
acousmatic music. About half of the
interview traces his biography. Er
worked in near-isolation until the
1970S, when he became more con-
nected with the mainstream of musi-
cal activity in France. Moving to
Montreal in the late 1970s, he taught
Komposition, electroacoustic tech-
niques, and acoustic perception, mit
an orientation toward French acous-
matic music and the writings of
Pierre Schaeffer. The remainder of
the interview focuses on his approach
to composition. Regarding extramu-
sical influences, he says, “music is
for me the language that I use to
speak of aspects of being.” We thank
Rosemary Mountain for conducting
this interview in honor of Francis
Dhomont’s 80th birthday.
The rest of the articles in this issue
cover interesting but unrelated top-
ics. Cynthia Bruyns’s article intro-
duces a technique for modal
synthesis of struck objects, wie zum Beispiel
percussion instruments. Im Gegensatz
to the subtractive-synthesis percus-
sion model described in the previous
issue of Computer Music Journal,
MS. Bruyns uses physical modeling,
in a form that permits emulating ob-
jects of unusual shape. A finite-
element representation is used to
describe the motion of the object un-
der forces. After the system is decom-
posed into its resonant frequencies,
the object model is made available for
real-time sound rendering. A 3-D geo-
metric interface allows the user to
control the object’s material and size,
and to modify, via MIDI, the inten-
sity and location of the strike. A
demonstration will appear on the
DVD accompanying the next issue.
Computer musicians are fre-
quently concerned with realistic sim-
ulation of the sound of a traditional
musical instrument, but we less of-
ten hear about realistic simulation of
how the instrument feels when one
plays it. Roberto Oboe’s article in
this issue extends the efforts of a very
few earlier researchers at construct-
ing an “active” keyboard controller,
d.h., one in which digitally controlled
motors press back on the key to sim-
ulate the feel of, sagen, a grand piano
Aktion. In Mr. Oboe’s system, Die
hardware costs are below US$ 10 pro
key, making commercial production
of a full keyboard feasible. He has
used his device to emulate, in order
of decreasing complexity, the grand
piano and harpsichord actions and
the simple, spring-like action of a
Hammond organ. Experimental re-
sults indicate that the device accu-
rately reproduces the behavior of the
original instrument.
The article by Gretchen Foley and
Charles Cusack describes their com-
puter program that assists in the the-
oretical analysis of music by George
Perle (B. 1915). The authors introduce
the fundamentals of this prominent
American composer’s “twelve-tone
tonality,” a mathematical approach
to composition based on cycles of
Intervalle. They then explain why at-
tempting to analyze this music man-
ually is necessarily arduous. Endlich,
they show how the music theorist
would use their tool to reverse-
engineer George Perle’s musical con-
Anweisungen. The software could also
benefit other composers working
within the framework of Mr. Perle’s
twelve-tone tonality.
An important problem domain in
music information retrieval involves
Front cover. Francis Dhomont in
2001. (Photo by Florence Gonot.)
Back cover. A screen image from
Cynthia Bruyns’s synthesis software.
About This Issue
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characterizing and comparing
melodic passages. Researchers have
tackled the problem using various
Techniken, often based on string-
matching algorithms or on geometri-
cal representations. Letzteres
approach is taken by Greg Aloupis
and his co-authors. Melodies are de-
scribed by connected line segments,
which in the basic form of the tech-
nique are rectilinear, resembling a
city skyline. Jedoch, an extension
to the technique handles the nonrec-
tilinear case of sliding pitches, solch
as glissandi and bends, which occur
frequently in real-world audio sig-
nals. In an added twist, the melodies
can be cyclic, as in certain African
and Asian musics, in effect placing
the corresponding geometrical pat-
terns on a cylinder rather than a
plane. Optional time-scaling allows
melodies to be compared that have
different tempi (or rhythmic augmen-
tation and diminution). The authors
present several melodic-comparison
algorithms and analyze their compu-
tational complexity.
Four books are reviewed in this is-
verklagen, including three that transport
the reader back to the 1950s. Der
book by Paul Doornbusch expands
upon his article in the Spring 2004 Ist-
sue of the Journal, concerning what
was likely the earliest computer to
produce music. Another book exam-
ines Lejaren Hiller’s pioneering work
in algorithmic composition, und das
third analyzes in depth the first all-
electronic soundtrack to a major
commercial motion picture (Die 1956
science-fiction film Forbidden
Planet). Also reviewed are a DVD,
two CDs, a computer music festival
that highlighted vocal music, und ein
long-awaited Macintosh version of
the Composers’ Desktop Project
Software.
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Computermusikjournal
Computermusikjournal
Volumen 30, Nummer 3
Fallen 2006
Contents
Interview
Sound Synthesis
About This Issue
Announcements
News
From Wire to Computer: Francis Dhomont at 80
Rosemary Mountain
Modal Synthesis for Arbitrarily Shaped Objects
Cynthia Bruyns
Performance Interfaces
A Multi-Instrument, Force-Feedback Keyboard
Roberto Oboe
Music-Theoretical Analysis
Computer-Assisted Analysis of Music in George Perle’s
System of Twelve-Tone Tonality Gretchen C. Foley and
Charles A. Cusack
Music Information Retrieval
Algorithms for Computing Geometric Measures of
Melodic Similarity Greg Aloupis, Thomas Fevens,
Stefan Langerman, Tomomi Matsui, Antonio Mesa, Yurai Nuñez,
David Rappaport, and Godfried Toussaint
Rezensionen
Veranstaltungen
Stimmen: Peninsula Arts Contemporary Music Festival
Nigel Morgan
Veröffentlichungen
James Wierzbicki: Louis and Bebe Barron’s Forbidden Planet:
A Film Score Guide James Harley
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James Matthew Bohn: The Music of American Composer
Lejaren Hiller and an Examination of His Early Works
Involving Technology Louis Ferdinand
Charles Madden: FIB and PHI in Music: The Golden Proportion
in Musical Form alcides lanza
Paul Doornbusch: The Music of CSIRAC: Australia’s First
Computer Music James Harley
Aufnahmen
Paul Doornbusch: Corrosion: Music for Instruments, Computers
and Electronics Richard Barrett
Nicholas Collins, Curator: A Call for Silence James Bohn
Multimedia
People Like Us: Story Without End (and Three Other Films)
Kevin Hamilton
Products
Composers’ Desktop Project Version 5.0.1 Jon Forshee
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Instructions to Contributors
108
Products of Interest
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Announcements
L’Espace du Son
The thirteenth annual international
fesival of acousmatic music, L’Espace
du Son, will take place in Brussels,
Belgien, on 19–22 October. The con-
cert series is hosted by Musiques et
Reserches, and is the occasion for
the presentation of finalists and the
announcement of winners of two
competitions, one in the live spatial-
ization of acousmatic works, Die
other in composition. The series will
also include a concert paying homage
to Francis Dhomont, who celebrates
his 80th birthday this year. (See the
interview in this issue.)
Netz: www.musiques-recherches.be.
Seoul Computer Music
Conference
The Korean Electroacoustic Music
Society will host the 2006 Seoul In-
ternational Computer Music Festival
(SICMF) 23–25 November at the
Seoul Arts Center in Korea. Submis-
sion categories include tape music,
electroacoustic music with instru-
gen, live electroacoustic music,
and audiovisual media art. Zwanzig
pieces selected from over 100 sub-
missions will be chosen for perfor-
mance during the conference.
Netz: www.computermusic.or.kr/
main_en.
Electroacoustic Music Festival
in Chile
The Electroacoustic Community of
Chile will host Ai-maako, the sixth
edition of their annual electroacous-
tic music festival on 10–21 October
2006. Celebrating 50 years of electro-
acoustic music in Chile, the festival
will present an international selec-
tion of acousmatic and “mixed”
(electronic with instrumental) Musik.
Netz: www.cech.cl.
Pushing the Medium
The Portugese artist-run cultural or-
ganization Binaural Media will host
Pushing the Medium, an interna-
tional meeting of sound, Video, Und
media artists in Nodar, Portugal, An
14–25 September 2006. The theme of
the symposium is “Place,” and the
landscape, villages, mountains, Und
valleys around Nodar will serve as
both the topic for workshops and dis-
Diskussionen, as well as primary material
for artists to use in realizing work
during the ten-day event.
Netz: www.binauralmedia.org/
projects/ptm2.html.
World Forum for Acoustic
Ecology
The World Forum for Acoustic Ecol-
Ogy (WFAE 2006) will be held in Hi-
rosaki, Japan, on 2–6 November
2006. The forum will be presented by
the Japanese Association for Sound
Ecology and Hirosaki University In-
ternational Music Center, and is sup-
ported by the World Forum for
Acoustic Ecology and Soundscape As-
sociation of Japan. The opening sym-
posium at the forum is titled “The
West Meets the East: Physical, Spiri-
tual, and Postcolonial Perspectives of
Acoustic Ecology.” Other activities
include lectures, discussions, Audio--
visual presentations, and a two-day
listening tour in areas surrounding
Hirosaki.
Netz: www.saj.gr.jp/en/hirosaki/
WFAE2006.html.
An Ear to the Earth
An Ear to the Earth: A Festival of
Musik, Sound, and Ecology will take
place across several venues in New
York City on 6–14 October 2006. Der
idea behind the festival is the recog-
nition that the interaction with our
natural and human-created environ-
ments is a crucial issue of our time,
and has inspired an enormous body of
sonic artwork. The festival will in-
clude concerts, Installationen, encoun-
ters, and soundwalks by artists
including Hildegard Westerkapmp,
Barry Truax, Maggi Payne, Cécile Le
Prado, and Jean-Claude Risset. Joel
Chadabe will present a world premier
of a new interactive work using ma-
terial from New York and New
Delhi. David Rothenberg will present
Why Birds Sing. There will be a
sound installation, Sound Map of the
Danube River, by Annea Lockwood,
and Laurie Spiegel will present her
work Ferals based on a prominent
part of the New York City sound-
scape, pigeons.
An Ear to the Earth was conceived
by Electronic Music Foundation, Und
organized in collaboration with the
UNESCO DigiArts Portal, World Fo-
rum for Acoustic Ecology, New York
City Audubon, New York University
Music Technology Program, Neu
York Society for Acoustic Ecology,
The Acoustic Ecology Institute, Und
Leonardo/ISAST.
Netz: www.eartotheearth.org.
Seventh International
Conference on Music
Information Retrieval
The seventh International Confer-
ence on Music Information Retrieval
(ISMIR ’06) will be held in Victoria,
Kanada, on 8–12 October 2006. ISMIR
Announcements
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Figur 1. John Grzinich en-
gaged in “field recording”
at Pushing the Medium #1
in Mooste, Estonia. Push-
ing the Medium #2 will be
held in Nodar, Portugal.
on 3–10 September 2006. The festival
is designed to provide young com-
posers with opportunity and expo-
Sicher. As part of the festival,
compositions nominated for the
Gaudeamus Prize will be premiered.
The categories of music for the prize
include Chamber Orchestra, Cham-
ber Music, and Electronic Music. Der
nominees in Electronic music that
will have their compositions per-
formed at this year’s event are Wolf-
gang Delnui for Zeithände (2004–
2006), Dganit Elyakim for Lentils
(2005–2006), Cenk Ergün for Video
Igin dörtlü agilis¸ (2004), Michiel
Mensingh for A glitch in the matrix
(2005), Jeff Myers for Buzz (2005), Und
Gabriel Paiuk for Res Extensa (2005).
Netz: www.gaudeamus.nl.
New Journal of Mathematics
and Music
The Taylor and Francis Group pub-
lishers have announced the publica-
tion of a new periodical, the Journal
of Mathematics and Music. Der
scope is to include mathematical and
computational approaches to music
theory, Analyse, and composition. In
recognition of unsolved ontological
and epistemological issues in music,
the journal is open to a wide variety
of methodologies and topics. Each of
the three annual issues will be de-
voted to a single topic, and there will
be an on-line edition to support
sound files, applets, and other elec-
tronic media.
Netz: www.tandf.co.uk/journals/
titles/17459737.asp.
is an international forum for work
on accessing digital musical mate-
rial, addressing the issues and possi-
bilites that arise now that so much
musical material is available on-line.
The conference targets the interests
of researchers, developers, educators,
librarians, students, and companies.
Der 2006 Music Information Re-
trieval Evaluation eXchange
(MIREX ’06) is a contest to compare
state-of-the-art MIR algorithms that
will take place as part of ISMIR. Der
number of specific domain categories
is growing, and this year may include
audio drum detection, music similar-
ität, genre classification, melody ex-
traction, melody transcription, onset
detection, tempo extraction, singer
identification, key finding, and score
following.
Netz: ismir2006.ismir.net, Und
www.music-ir.org/mirex2006/
index.php.
ACM Multimedia Conference
The annual Association for Comput-
ing Machinery Mulitmedia Confer-
enz (ACM MM 2006) will be held
in Santa Barbara, Kalifornien, An
8–12 October 2006, and will include
several activies of interest to the
computer music community. For the
third year in a row, Die Konferenz
will include an Interactive Arts Pro-
gram that is composed of both a con-
ference paper track and an Art and
Technology Exhibition, in which
computational audio has become an
important part. The conference will
also host a workshop on multimedia
information retreival.
Netz: www.mmdb.ece.ucsb.edu/
acmmm06.
Electronic Music at Gaudeamus
The International Gaudeamus Music
Week will take place in Amsterdam
6
Computermusikjournal
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News
Australasian Computer Music
Conference
The Australasian Computer Music
Conference was held 11–13 July 2006
at the Elder Conservatorium of Mu-
sic, University of Adelaide, Australia.
The conference was entitled
Medi(T)ations: Computers, Music and
Intermedia, and sought to highlight
new areas of aesthetics and interrela-
tionships in computer music. Topic
areas included cross-media relation-
ships and the role of technology, In-
terface and control systems, media as
aesthetic agent, psychoacoustics, Und
connections between computer mu-
sic and intermedia practices in other
areas such as education. Scheduled
keynote speakers included Mitchell
Whitelaw from the University of
Canberra, and Fredrik Olofsson and
Nick Collins of the audiovisual per-
formance duo known as klipp av.
Netz: www.acmc06.org.
Spark Festival of Electronic
Music and Art
The fourth annual Spark Festival of
Electronic Music and Art was held
22–26 February 2006 at the Univer-
sity of Minnesota School of Music in
Minneapolis, Minnesota, USA. Doug-
las Geers directed the festival, welche
featured artists such as Alvin Lucier,
Scanner (Robin Rimbaud), Randy
Jones, and Ben Nevile. The festival
enthalten 15 concerts, 5 paper ses-
sionen, and featured lectures. Special
sessions were offered on topics such
as the work of the featured artists,
the inner workings of net recording
labels, and Max/MSP/Jitter.
Netz: spark.cla.umn.edu/
index2.html.
Sound and Music Computing
The third Sound and Music Comput-
ing (SMC ’06) was held 18–20 May
2006 in Marseille, Frankreich. The con-
ference was supervised by organiza-
tions from France, Italien, Und
Deutschland, and aimed to promote ex-
changes between European countries
around the conference theme. Das
Jahr, the conference put special em-
phasis on research involving image
and video such as music representa-
tion and visualization, image-based
control of sound and music, multi-
media performance systems and lan-
guages, and multimodal perception
and cognition.
Netz: www.gmem.org/smc06.
Connectivity in Connecticut
The tenth biennial Ammerman
Center for the Arts and Technology
Symposium, Konnektivität, was held
30 March–1 April 2006 at Connecti-
cut College, New London, Connecti-
cut, USA. The events included
keynote speeches, multimedia perfor-
mances, interactive installations, A
gallery opening, and concerts, viele
free and open to the public. Interna-
tional artists, Komponisten, theorists,
and scientists attended the sympo-
sium. Three collaborative teams con-
sisting of visual artists, Komponisten,
dancers, and computer scientists
were awarded commissions and resi-
dencies to create works that were
produced with the help of Connecti-
cut College students and premiered
at the symposium.
The events included a keynote ad-
dress and a multimedia performance
by Massachusetts Institute of Tech-
nology (MIT) composer Todd Ma-
chover, and a performance of
Perceivable Bodies using projection
and motion-sensing technology by
Palindrome Intermedia Performance
Group of Germany (siehe Abbildung 1).
Netz: aspen.conncoll.edu/news/
2416.cfm.
Subtropics Experimental Music
and Sound Arts Festival
The Subtropics Experimental Music
and Sound Arts Festival celebrated
their 18th year with a series of con-
certs and events in Miami, Florida,
An 23 February–4 March 2006. Kopf-
quartered at the Dorsch Gallery with
hosting and presentation spread
among several Miami and Miami
Beach arts organizations, the festival
included simultaneous performance
of David Dunn’s In Air, In Water, In
Trees and Three Strange Attractors,
Music on a Long Thin Wire by Alvin
Lucier, and the experimental opera
entitled I by Gino Robair.
Netz: www.subtropics.org.
Gem-Days
The Music Department at the Uni-
versity of Huddersfield, Vereinigtes Königreich, pre-
sented Gem-Days, a six-day festival
of electronic music and mixed media,
on 23–28 March 2006. The festival
included the Gmebaphone loud-
speaker orchestra pioneers Christian
Clozier and Françoise Barrière, als
well as music from Robert Norman-
deau, Pierre Alexandre Tremblay,
Phil Niblock, and Jean Piché.
The festival was also the occasion
for a conference on the use of Max/
MSP in composition, improvisation,
and performance.
Netz: www.gemdays.co.uk.
News
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Figur 1. Palindrome Inter-
media Performance Group
of Germany performed at
the Connecticut College
Art and Technology Sym-
posium. (Image by Freider
Weiss.)
Sonoimágenes
The seventh edition of the Interna-
tional Acousmatic and Multimedia
Festival, Sonoimágenes, was sched-
uled to be held 22–25 August, 2006,
at the National University of Lanús
and other concert halls in Buenos
Aires, Argentina. The festival is or-
ganized around three categories of
presentation—acousmatic work, au-
diovisual compositions, and live per-
formance and includes workshops
and presentations.
Netz: www.sonoimagenes
.netfirms.com.
Deep Wireless in Toronto
New Adventures in Sound Art pre-
sented the annual Deep Wireless
Festival 1–31 May 2006 in Toronto,
Kanada. The festival is a month-
long celebration of radio and trans-
mission art, Aufführungen, Klang
gory was given to Omar Dodaro for
the piece Dialogue in Nature.
Netz: www
.accademiamusicalepescarese.it/
html/risultati_2005.html.
Short Cuts: Beauty
As part of the 2006 World New Music
Festival organized by the Interna-
tional Society for Contemporary Mu-
sic, the Center for Art and Media
(ZKM) in Karlsruhe, Deutschland,
hosted Short Cuts: Beauty, an inter-
national competition for electro-
acoustic music. Targeting musically
creative people of all ages, ZKM so-
licited short pieces, each based on
three sounds representing the artist’s
concept of beauty, and presented all
submissions during the course of
the Festival, on 14–30 July 2006. Spe-
cial audio stations at ZKM and the
festival’s media center in Stuttgart
were established, and the Museum
of Art in Stuttgart opened a late-
night lounge to present selected
submissions.
Installationen, new commissions,
CD launches, and conference activi-
Krawatten. Conference speakers and work-
shop leaders included Trevor
Wishart, Steve Wadhams, Und
Tetsuo Kogawa.
Netz: www.soundtravels.ca/
Netz: www.wnmf2006.de/
deepwireless.
short_cuts_e.php.
Pierre Schaeffer Competition
Winners
American Composers Orchestra
Goes Underground
The winners of the 2005 Pierre Scha-
effer International Computer Music
Competition have been announced.
In the category of Tape Music, Die
first prize was taken by Francis
Dhomont for Here and There. Der
second prize winner was Robert Saz-
dom for Bogorodica, and the third
prize winner was Roeland Luyten for
Decycklage.
For the category of Instruments
and Tape, no first or second prize was
ausgezeichnet. The third prize in the cate-
The American Composers Orchestra
concert named “Tech & Techno” ex-
tended their “Underground” series to
explore the intersection of technol-
ogy and new music with influences
drawn from the dance club and the
computer music lab. Programs on
17 March at Zankel Hall at Carnegie
Hall in NYC, und weiter 18 March at the
Annenberg Center for the Performing
Arts in Philadelphia featured Neil
Rolnick’s iFiddle Concerto, the mul-
timedia work Call Them All: Fantasy
8
Computermusikjournal
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Projections for Film, Laptop, and Or-
chestra by Daniel Bernard Roumain
(DBR), Omnivorous Furniture by Ma-
son Bates, Practice by Edmund Cam-
pion, and Abandon by Justin Messina.
Netz: www.americancomposers.org/
rel20060317.htm.
Los Angeles Sonic Odyssey
The Los Angeles Sonic Odyssey
(LASO) presented a series of three
concerts 31 March–1 April 2006 fea-
turing electronic and computer con-
cert music. A diverse line-up of
composers included David Cope,
Curtis Roads, Patricio da Silva,
Richard Karpen, Jennifer Logan,
Sylvia Pengilly, Pete Stollery, Und
Andere. The works covered a range of
styles including acousmatic music,
microsound compositions, environ-
mental music, virtual instruments,
sonic documentaries, Theater, horror,
and humor.
Netz: spectrumpress.com/
newmusic.
Xenakis: La Légende d’Eer
A multimedia piece that Iannis Xe-
nakis created for the occasion of the
opening of the Georges-Pompidou
center in Paris, La Légende D’Eer, hat
been documented by filmmaker
Bruno Rastoin (2004). The film was
shown at the Anthology Film Ar-
chives in New York on 2–3 March, als
well as in Canada 10 June at the
Perimeter Institute for Theoretical
Physics in Waterloo and 11 Juni 2006
at the Ontario College of Art and
Design.
The film is made from 350 slides
Rastoin shot at the original event per-
formed by Xenakis that included a
seven-channel sound system, 1,680
lights, four lasers, Und 400 mirrors in
a building of his own design. Der
sound for the New York showings of
the film was mixed live by Xenakis’s
associate Gerard Pape from the origi-
nal master tapes.
Netz: www.americancomposers.org/
rel20060317.htm.
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