Reseñas
[Editor’s note: Selected reviews are
posted on the Web at mitpress2.mit
.edu/e-journals/Computer-Music-
Journal/Documents/reviews/index
.html. En algunos casos, they are either
unpublished in the Journal itself or
published in an abbreviated form in
the Journal.]
Events
Sónar 2005: Advanced Music and
Multimedia Art
Barcelona, España, 16–18 June 2005.
Reviewed by Joyce Shintani
Stuttgart, Alemania
In the gamut of European multimedia
festivals, from Ars Electronica in Linz,
Austria to Transmediale in Berlin,
Alemania, Barcelona’s Sónar is the
most resolutely dedicated to music
and is also the largest. En 2005, el
12th annual International Festival of
Advanced Music and Multimedia
Art took place on 16–18 June and
welcomed 90,000 visitors from 40
countries and some 800 accredited
journalists. The difficulty of writing
about the three-day marathon of sun,
electronic music, y (chemically in-
duced) good vibes that is Sónar is no-
torious, and one of the reasons is the
sheer abundance and crossover diver-
sity that Sónar presents.
From its inception in 1994, Sónar
has provided a space for artists, pro-
fessionals, and the public to meet and
exchange points of view. Wikipedia
makes a distinction between “elec-
tronic music” and “electronic art
music” (“Electronic music is a loose
term for music created using elec-
tronic equipment.” “Electronic ‘art’
music is a regrettably vague term for
the formal and primarily academic
branch of electronic music that is fo-
cused on extending musical capabili-
ties through technology.”), but Sónar
embraces both. The theme this year
was a “return to the physical in the
expression of live music.” The undis-
puted “soloists” of earlier Sónars,
portable computers, have been re-
placed by guitars, drums, pianos, y
voices. Con 300 activities including
DJ sets, live sets, visual and multime-
dia art, conferences and discussion
forums, a record fair, an editorial fair,
merchandising and hardware exposi-
ciones, live broadcasts, and archives at
individual viewing stations, the festi-
val’s programs embrace the multi-
tude of styles and media in electronic
music today. And that is another
reason it is difficult to write about
Sónar. Under a sensorial attack of
Las Vegas–like intensity, at some
point the visitor longs for, or is of-
fered, sense-numbing substances,
placing high demands on the most
scrupulous professional discipline.
The festival is divided into two
partes, each with its principal venues:
Sónar by Day takes place largely in
the CCCB/MACBA complex (Bar-
celona Center for Contemporary Cul-
ture and Museum of Contemporary
Arte) and in the Santa Monica Art
Center, and Sónar by Night takes
place at the vast convention center,
Fira Gran Via, on a hilltop above
town. Sónar’s secret to success lies in
combining mainstream electronic/
hip-hop acts of mass audience appeal
with experimental underground elec-
tronica and electronic art music. El
well-organized festival thus attracts
crowds as well as cognoscenti, OMS
all mingle at the sun-drenched festi-
val and enjoy a wide variety of Bar-
celona’s other attractions: endless
tapas bars, beaches, and a consider-
able off program, all at reasonable
prices.
Sónar by Night is the venue for big
names, this year including acts like
De La Soul, Ellen Allien, Jamie
Lidell, Laurent Garnier, Miss Kittin,
and the Chemical Brothers. Estos
events have been amply reviewed by
the international press, and I leave
commentaries to those specialists
and aficionados (one link to a more
mainstream review of the festival can
be found at www.soundgenerator
.com/burner/reviews_live.cfm?
reviewid=1077).
Sónar by Day provides spaces for
the experimental films, multimedia
installations, and exhibits that define
Sónar’s artistic identity and that will
be the focus of this review. I begin
with SonarMàtica, where one finds
installations and contemporary art
comparable to Germany’s docu-
menta, New York’s Guggenheim or
Los Angeles’s MoCA (Museum of
Contemporary Art); o, as one visitor
put it, “similar to the Tate Modern,
but more cutting edge.” In their fine
exhibit “Randonée (A Walk Through
Landscaping in the 21st Century),"
curators Óscar Abril Ascaso, José
Luis de Vicente, Andy Davies, y
Advanced Music made out a return of
abstraction to the forefront of con-
temporary creation after years of pop
arte. Based on this view, they sought
to analyze “the extent to which land-
scape art is currently surviving in
new media.” The exhibits were wide-
ranging, with entries lacking only
from African and Middle Eastern
countries. Considering Spain’s vicin-
ity to the African littoral, selections
from these geographical areas, con
which a dialogue is so desperately
needed, would be an appropriate
complement in future. Many of the
installations have won prizes at other
festivals, for example Thomas
Köner’s “Suburbs of the Void” (re-
ported in a review of the Transmedi-
ale Festival, Berlina, in Computer
Music Journal 29[4]). Three works
particularly caught my attention for
Events
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their artistic density and the close re-
lationship between audio and visual
elementos.
In her award-winning film Aspect
(2004), Emily Richardson undertakes
a quick-motion filming of a forest
over a year. Films of this type are fa-
miliar; the technique is often used in
nature films or to depict completion
at construction sites. Unusual in Ms.
Richardson’s film is her successful
accommodation of visuals to Bene-
dict Drew’s soundtrack of organic
sounds. She closely interweaves im-
ages and sound with quiet sensitivity,
and the resulting work is captivating
with its simple natural beauty and
poetic soundscape.
An extreme contrast to Ms. Rich-
ardson’s view of nature is Yi Zhou’s
OneOfTheseDays (2004), a 3-D ani-
mation reconstructing the film-
maker’s dream about a civil war in an
undefined futuristic city—equally
poético, but chilling (her Web site is
found at www.yi-yo.net). Inspired by
the construction and demolition tak-
ing place in her native Shanghai, el
work is a stylized representation of
destruction that has similarities with
the gun fight in Matrix (capítulo 29,
“Freeze!"). Both are held in shades of
gray and depict cool, anonymous fu-
turistic architecture. Both utilize
slow motion and a breath-taking de-
ployment of scattering fragments
from destroyed buildings. But where
the Matrix scene is short and embed-
ded in action, Yi-Zhou’s vision of de-
struction is longer and cooler, y,
being removed from narrative, is re-
duced to its aesthetic elements. El
floating, ethereal soundscape under-
lines the work’s dream quality, elicit-
ing cold shivers of awe.
A final work, Tree by Risc (a.k.a.
Christian Riekoff) succeeds at em-
ploying music and visuals in equal,
minimal quantities. While maintain-
ing a distant connection to the land-
scape theme of the exhibit, the work
falls into the category of software art.
The viewer points to a URL on a
wall-projected computer screen and
presses Enter. In real time, Tree ac-
cesses the source code of the Web site
and transforms its syntactic structure
into the image of a tree with trunk,
branches, and ramifications in subtly
shaded geometric forms. Al mismo
tiempo, simple MIDI data is generated
(producing, at Sónar, crystalline tones
based on high/low frequencies with
short/long durations), providing a
slightly whimsical accompaniment
that is a good correspondence to the
simple geometric shapes. It is a fun
application that gives a satisfying
aesthetic result; you can try it your-
self online (www.texone.org/tree;
this Web-based version lacks the
MIDI output).
Also at the CCCB complex was
SónarCinema, an extensive collec-
tion of experimental cinema and
video clips. Ten viewing sessions,
each lasting approximately an hour,
showcased works featuring historical
as well as current formats of audio-
visual creation providing persuasive
“testimony to the ever increasing
common ground between the image
and advanced music.”
The first highlight was a selection
of short films produced by the
Groupe de Recherches des Images
(GRI), a collaboration of musicians
and filmmakers in the 1960s under
the auspices of Pierre Schaeffer and
the Groupe de Recherches Musicales
(GRM), that explored new television
formas. La mayoría de 700 shorts were
never broadcast and “ended up in the
state archive because they were con-
ceptually too radical.” These unique
audiovisual experiments feature
soundtracks by Iannis Xenakis,
Bernard Parmegiani, François Bayle,
Ivo Malic, and Pierre Schaeffer,
which render audible the historic
continuity of beats and scratches
from the 1960s to the present.
In another session, Chronopolis, por
Polish artist Piotr Kampler with mu-
sic by Luc Ferrari, was shown, a con-
crete experiment screened at the
Cannes Festival in 1982. Many of the
sessions offered electronic music
clips or works by video jockeys in a
wide variety of styles and quality. A
final highlight, Pimp My Bite, was a
compilation of works produced using
digital video, 3-D animation, Destello,
and machinima (films shot in the vir-
tual reality of a game engine) de
the Hamburg Bitfilm Festival (www
.bitfilm-festival.org). Many of the
films were unmitigated social criti-
cism, but the short Kunstbar (2002)
by The Petrie Lounge provided first-
class comic relief. In this imaginative
spoof on high art made in primitive
South Park style, different drinks are
served at the Art Bar, producing vary-
ing results: the Van Gogh cocktail
causes an ear to drop off, the Hierony-
mus Bosch drink is real torture, y
so on (this film can be viewed online
at www.whitehouseanimationinc
.com/kunstbar.htm).
From the CCCB complex it is a 15-
min stroll down the bustling Ramblas,
Barcelona’s central walking boulevard,
to the Santa Monica Center. Allá,
downstairs in the dark, cool base-
mento, diverse projects and live soft-
ware acts from around the world were
presentado, including a bizarre per-
forming robot (www.myrobotfriend
.com). Upstairs, in the exhibit space,
the installation “Messa di voce” by
Golan Levin and Zach Liebermann
with Jaap Blonk and Joan La Barbara
was particularly eye-catching (www
.tmema.org/messa). It is an audio-
visual system consisting of viewer
space with camera tracker, micro-
phones, and wall projection for the
sounds, produced by the viewers,
which have been transformed in real
time into interactive visualizations.
Using the mics, the viewer can cre-
ate, then using hands catch and bal-
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ance “virtual” bubbles or galaxies of
color on the wall projection. This is a
sophisticated installation that hints
at serious themes of meaning and the
effect of speech sounds in a playful
and delightful way.
Another part of the festivities, Un-
tiliteratur, the “Art and Literature
Festival,” was plagued by wrongly
posted times for its sessions and, re-
grettably, I missed them all. At Sónar,
missing some events is unavoidable,
but discovery is also part of the expe-
rience. My happiest discovery was
Phil K (www.philk.dj) at the demon-
stration of the DVJ-X1 DVD/CD
turntable, Pioneer’s answer to the
iconic turntable. Familiar DJ tech-
niques—scratches, loops, instant
señales, fades—are now possible for
one-person simultaneous disc and
video jockeying (DVJ), enabling on-
the-fly mixing from separate audio
and visual sources.
Phil Krokidis, a veteran Melbourne
DJ/producer of Greek descent, demon-
strated not only the new hardware
but also his own considerable talent.
An autodidact who, by his own ac-
count, as a youth “couldn’t play an
instrument but could mix,” Phil has
recently worked with the Pioneer Re-
search and Development team to de-
velop the new DVJ-X1. Although he
is new to visuals, he says he now
“watches movies like he used to lis-
ten to records,” and the results show
that Phil K not only has huge ears,
but also fantastic eyes. He employs
video art or simple clips he shoots on
his travels, images that conjure up
and comment on urban culture (Nuevo
York street scenes), política (Jorge
Arbusto, Arab sheiks, and guns), or the
role of women (animations). Alabama-
though the club context calls for high
intensity video streams, Phil K’s se-
lection and controlled use of a few
key images at timed intervals creates
meaning within the constant flow of
color—a message within the mas-
sage. To achieve this he begins, en
typical DJ manner, by laying down a
visual loop. Under it, layer by layer,
he slowly constructs a sound struc-
tura, which may also include sam-
pled concrete sounds. At specific
points along the way he inserts the
images that form his commentary,
and the audience follows, rocking.
The visual/sound-narrative grows,
and when the swell reaches its high-
punto, Phil K places the musical cli-
máximo. No conductor or classic
virtuoso could do so with better tim-
En g. The crowd cheers and rises to its
pies, but Phil K ends the structure
and lays down a new loop on the
level just reached and takes off again.
VDJ and crowd interact, building in-
tensity over a 50-min set, y solo
with reluctance did they clear the
scene for the next act. The formal
strength in composition of Phil K’s
work is manifest. The figures, spoken
palabras, and clips, both drawn from
samples as well as finished works, en-
terplay at various levels and create
their own syntax. Phil K’s art is intu-
itive and touches on deep emotions.
Pulsing with an urban energy recall-
ing Jean-Michel Basquiat, he mirrors
glimpses of a fragmented society and
submits them to the organizing prin-
ciple of music. His way of making art
in the club context is a contribution
to the best of what electronica offers
hoy.
Before summing up the Sónar Fes-
tival, let us recall some of the ele-
ments that make electronica
different from other kinds of popular
música, beginning with its name. El
artists—DJs, vocalists, and instru-
mentalists—are all working with a
powerful generation of electronic in-
struments that affords them liberty
in many areas. Evolving high-quality
synthesis and microprocessors con-
tinue to generate new media.
Equipped with such mobile creative
potencial, electronica artists have
opened up their ears to exploit the
new technological possibilities at
their disposition. They sample, entonces
“play with”—manipulate, vary, por-
mute—not only the sounds they gen-
erate, or buy on a historic record, nuevo
CD, or download, but also from the
world around them. This great vari-
ety of sources brings freshness into
their work and the work of VJs. Elec-
tronics also allows freedom on the
economic side. Own-your-own elec-
tronic distribution and small inde-
pendent labels eliminate certain
market constraints. Released from
contracts with music majors that dic-
tate shareholder-value productions,
y, knowing that their constituency
is listening for new sounds, electron-
ica artists are willing to take risks
and have thereby created a field with
high creative dynamism. And in yet
another way electronica artists are
abierto: often without formal music
training, DJs are not hampered by
ears full of aesthetic expectations or
composition rules. Driven only by
their curiosity and excitement for the
world of technology and sounds,
young DJs have trekked through elec-
tronic music’s beginnings with John
Chowning, Karlheinz Stockhausen,
and Pierre Schaeffer, through jazz
and chance and John Cage, y
through a maze of rap, dance, y
world music styles in the 1980s and
1990s. Moving across boundaries of
education, geography, medio, style,
genre, or time is as natural for them
as breathing; they’re on a collective
creative high.
After the sensory glut of three days
of Sónar, what trends for the future
does the juxtaposition of experimen-
tal music with hot acts reveal? El
elements listed above combined
with the instant global connected-
ness of the Internet emphasized at
festivals like Sónar has led to cross-
fertilization and an explosion of cre-
ativity, in stark contrast to shrinking
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classical concerts or the implosion of
the music industry. Within the cre-
ative burst of electronica, two devel-
opments were obvious at Sónar. Primero,
as the organizers have pointed out,
there is a return to the physical: elec-
tronic music has learned perfor-
mance. Increasing real-time capacity,
women performance artists, y
vicinity to the dance floor have
firmly established the performing
body in electronica. Segundo, as audi-
ences have grown and software has
become more robust, DJs have per-
fected their improvisatory talents in
order to interact with audiences. A
tradition that survived in jazz and rap
is returning to electronic music: el
improvising artist. These trends give
DJ-ing electronica a vital, electric
quality lost from the museums that
concert halls have become. High
technological standards, burgeoning
creativity, and a lively, growing
public—this year at Sónar, electron-
ica cast an appreciative glance at its
electronic roots and went raving off
in myriad future forms.
NIME 2005: New Interfaces for
Musical Expression
University of British Columbia, Van-
couver, British Columbia, Canada,
26–28 May 2005.
Reviewed by Jamie Allen,* Margaret
Schedel,† and John P. Young†
*Nueva York, Nueva York, EE.UU; †San
Francisco, California, EE.UU
This year’s New Interfaces for Musi-
cal Expression conference, NIME
2005, was held at the University of
British Columbia in Vancouver,
Canada, 26–28 May. Although practi-
cally everyone disagreed about the
pronunciation of the name of the
conference, everyone agreed that Sid-
ney Fels and Tina Blaine did a won-
derful job of coordinating the event.
The spaces for papers and perfor-
mances were physically and acousti-
cally beautiful, and the weather was
perfectly gorgeous, which made it a
pleasure to walk from the dorm-like
accommodations through the cam-
pus to the various venues.
Thursday May 26, Reviewed by
Jamie Allen
There was a refreshing preamble to
the official commencement of NIME
2005. Wednesday night before the of-
ficial welcome session the next
mañana, early arrivals were treated
to a showing of The Future is Not
What It Used to be, a film by Mika
Taanila presented by Michael Lyons.
The film was a real treat, outlining
the extensive accomplishments and
contributions of Finland’s obscure
electronic arts pioneer Erkki Kuren-
niemi. Señor. Taanila’s film also hinted
at an emphasis on historical and con-
textual underpinnings that I noticed
throughout the proceedings this year.
Three separate keynote speeches
were given during each morning of
the conference, an aspect of the event
that was particularly well planned.
Each of these was a retrospective
look at the speaker’s own work, y
their perspectives on the road ahead.
The nearly sublime triumvirate of
Don Buchla, Golan Levin, and Bill
Buxton truly represents a triumph of
curatorial talent and orchestration on
the part of the conference planners,
Sidney Fels and Tina Blaine.
On this first morning, Señor. Buchla
presented and demonstrated a
panoply of the instruments he has
constructed since 1965. El número
of demonstrable instruments he was
able to bring was limited somewhat
by Canada customs agents, but his
corner of the demo room was still
well stocked. The keynote was fasci-
nating, especially for those of us with
leanings towards fetishism for syn-
thesizer and analog memorabilia. Él
capped his remarks with comments
on modern advancements and work
in hardware design. Esto incluido
mention of a very recently completed
design by Bob Huott known as the
“Been.” Its mention was a surprise
even to the designer, as the instru-
ment is so new, confirming that Mr.
Buchla’s attentiveness to his chosen
field has not waned in over 45 años
of practice.
The morning session of paper pre-
sentations began with a look at more
conceptual treatments as contrasted
to specific applications, which were
covered in the afternoon. John Bow-
ers and Phil Archer presented “Not
Hyper, Not Meta, Not Cyber but Infra-
Instruments.” The presentation cov-
ered much of Bowers and Archer’s
work and called for a restriction of in-
teractive potential in new instruments
(NIMEs). Esencialmente, it was a well-
formulated argument for “keeping it
simple.” The lesson was a profound
and important one for the audience at
mano, that sometimes the most ex-
pressive musical outcomes are de-
rived from seemingly less-expressive
interfaces (Infra-Instruments). “Re-
ductionist” Japanese work and “cir-
cuit bending” performance successes
prove that Infra-Instruments are as
much a part of the novel ways people
are expressing their musical voice as
the most belabored virtual reality ap-
plication or re-engineered violin.
Three researchers from Helsinki’s
University of Technology came next,
presenting a set of experiments in
sound control done within a Virtual
Reality environment. Identifying
with the largely synesthetic leanings
of North American computer music
composers and researchers, they gave
a concise description of the CAVE en-
86
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vironment and input interfaces, estan-
dard in virtual reality (VR) circles but
novel in their application to the mu-
sical domain. The work did not seem
geared to performance contexts, pero
to the context of a singular user, cre-
ating and interacting with a virtual
instrument or sound world. As with
all presentations of immersive sys-
tems, I would have liked to experi-
ence the VR system in its entirety
mí mismo, as video and photographic
documents rarely do them justice.
The three paper presentations that
followed were discussions of instru-
ment systems that have progressed
beyond experiments. The first of
these was from Gil Weinberg and
Scott Discoll, now at the Georgia In-
stitute of Technology, with “iltur.”
Centered on the Beatbug musical
controllers developed at the Massa-
chusetts Institute of Technology
Media Lab, iltur is a system for inter-
action between novice and expert
músicos. Two jazz compositions,
iltur 1 and iltur 2, have been devel-
oped, and the first of these was per-
formed at the 2004 Internacional
Computer Music Conference. El
implementation and motivation of
this work is consistent with Mr.
Weinberg’s fine reputation. As an
artist and scholar, he seems fittingly
concerned with issues of accessibility
and the transmission of ideas.
A review of more mature applica-
tions was presented by Sergi Jordà,
outlining paradigms and applica-
tions of multi-user interfaces for mu-
sic. He took a new tack on the issues
by rigorously analyzing the multi-
user taxonomy of a piano, guarded
most commonly as a single-user in-
strument.
The spirited Tina Blaine finished
off the morning sessions by outlining
a remarkable collection of multi- y
single-user commercial musical in-
terfaces from the Interactive Enter-
tainment world. She spoke largely
within the context of the educational
potential of interfaces for music from
the video game and toy industries.
Her examples ranged from pop-culture
phenomena such Dance Dance Revo-
lution and Donkey Conga to the Eye-
Toy video-tracking game Groove,
which provides a gestural rhythm
controller to the masses. EM. Blaine
was also kind enough to bring a Don-
key Conga system to the demo rooms
in Vancouver that day, so we might
all get a chance to sample the gaming
industry’s take on a new musical in-
terface. I am always impressed by the
industry’s attitude to musical inter-
face implementations, ser, para el
most part, devoid of excessive pre-
tence and valuing human experience
beyond issues of compositional au-
thority or technical prowess.
Those of us attending the after-
noon paper sessions were treated to
descriptions of specific interfaces
systems and rigorous applications.
These were clear and succinct pre-
sentations of successful present prac-
tices of reactive and interactive
musical systems. Dan Overholt pre-
sented the Overtone Violin, cual
was performed at a concert the next
evening. Juan Pablo Caceres and his
team from the Center for Computer
Research in Music and Acoustics
(CCRMA) were a crowd favorite: un
augmented tuba system was pre-
enviado, wherein real-time manipula-
tion of the natural instrument sound
was amplified and retransmitted
through loudspeakers mounted on
the bell of the instrument, and a sub-
woofer beneath the player’s chair.
Eric Singer’s presentation of a
LEMUR (League of Electronic Musi-
cal Urban Robots) “Large Scale Net-
worked Robotic Musical Instrument
Installation” project installed at the
University of California at Irvine was
saddled by two new sensor acquisi-
tion and control systems. The first of
these was the Smart Controller
Workbench, which allows for interac-
tive programming without the need
for a computer. The second was a
novel system by the team behind the
Tap Tool Max/MSP add-on set, en-
titled the Teabox. The Teabox uses
an underused asset of most audio
acquisiton hardware systems, el
S/PDIF protocol, to get sensor data
into the computer, all mounted in
truly roadworthy case.
The concert roster on Thursday
night included a videoconference per-
formance organized by Scot Gresham-
Lancaster. AB_time, the title of the
piece, featured Tomi Hahn dancing
along to decidedly meandering tex-
tures from three locales: our concert
hall at UBC; Pauline Oliveros on her
accordion in Troy, Nueva York; y
Jean-Marc Montera playing the cit-
tern in Marseilles, Francia.
The clear sonic triumph of the
evening was next, with Italian-born
Vancouver local Giorgio Magnanensi
controlling a set of circuit-bent
speech synthesizers (most from the
Texas Instruments “Speak & Spell”
line-up). Seated at the center of the
habitación, Señor. Magnanensi proved once
again that the physical and visual ele-
ments of a performance are not al-
ways paramount. He spoke to the
audience through his contorted ma-
chines in ways the circuitry never in-
tended and we did not expect.
Randall Jones took to a Tactex
multi-touch control pad after Mr.
Magnanensi, effortlessly painting a
complex language of visuals on a
screen above his head. The visual ma-
terial and linked audio material was
flawless in its synesthetic syn-
chronicity, although at times the
sound material seemed a bit thin as a
counterpart to the imagery. Posthorn,
by Ben Neill and Bill Jones, was a fine
reworking of Gustav Mahler’s Sym-
Events
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phony No. 3 into atmospheric lap-
ping through Mr. Neill’s self-designed
“mutantrumpet.” Laetitia Sonami
lent her unusual blend of theatrical
showmanship and finessed interface
diseño, performing her “Lady’s
Glove” gestural controller in a piece
entitled The Appearance of Silence
(The Invention of Perspective).
The first evening’s concerts were
rounded out by a much-talked-about
collaboration between renowned
Cuban jazz pianist Hilario Duan, por-
cussionist Andrew Schloss, and vio-
linist Irene Mitri. Señor. Schloss uses
a Radio Drum system to effect and
re-digest captured portions of the
pianist’s playing, although on this
occasion the sonic material being ac-
tuated by the percussionist seemed a
little less enticing. Midi-synth bongo
and conga samples didn’t make for
fitting accompaniment to Mr. Duan’s
playing and Ms. Mitri’s ruminations
on strings seemed slightly out of
place in it all.
A standout aspect of this year’s
NIME conference was the inclusion of
improvisation sessions, organized by
Ajay Kapur of the University of Victo-
ría. These were held at various times
throughout the three days, and despite
some confusion with regards to how
“open” these sessions in fact were
(many people reportedly hoped to
show up, instrument in hand, cuando
in fact one had to sign up for an allot-
ted session prior to the conference),
they were certainly a step in the right
direction. I was lucky enough to par-
ticipate in one such session, y
whatever the overall musical out-
come, there is certainly value in or-
ganizing more activities where music
is the explicit conversant language at
a conference centering on music. I
would have loved to see a full-on jam,
Por ejemplo, involving all the lovely
controllers and sound makers that
Don Buchla carted up from California.
Music is, después de todo, for many of us still
a less cumbersome means of commu-
nication than the unwieldy awkward-
ness of the English language.
Friday May 27, Reviewed by
Margaret Schedel
I thought the most successful presen-
tations were those that combined a
paper or poster with a performance. I
know that it isn’t feasible to have a
one-to-one correspondence between
papers and performances, but I do be-
lieve the composers/creators of
pieces selected for performance
should have an automatic option to
have a poster. There is only so much
information one can convey in pro-
gram notes, and it would be nice to
have a centralized discussion about
the technology behind a work. Era
much more receptive to the aesthet-
ics of a performance when I wasn’t
trying to figure out the technology.
Roger B. Dannenberg, Ben Brown,
Garth Zeglin, and Ron Lupish au-
thored the paper “McBlare: A Robotic
Bagpipe Player,” which describes the
technology behind the piece per-
formed later that night. The robot
consists of a custom-built air com-
pressor and electro-mechanical relays
connected to rubber pads which open
and close holes on the chanter in re-
sponse to MIDI messages. Señor. Dan-
nenberg’s musical work McBlare was
a joyous racket of trills and runs
faster than any human could have
played. He wheeled their creation out
on stage, turned on the compressor,
and stood back to watch it work with
a slightly bemused expression on his
rostro. Agradecidamente, he had earplugs in.
The piece itself was a mélange of
Scottish folk motifs which translated
very well into MIDI, tal vez porque
(forgive me, roger) the bagpipe is not
the most expressive of musical in-
struments. The work was, sin embargo,
very musically satisfying, and the au-
dience gave it a thunderous cheer.
Dan Overhold also had a paper and
piece: his Duet for Violin + Violinist
and corresponding paper dovetailed
nicely. Como se ha mencionado más arriba, Señor.
Overhold presented his paper on
Thursday, and it was rewarding to see
the violin, which was described in
such technical terms, turn into an ex-
pressive instrument onstage the next
evening. The performance was nearly
half over before he actually bowed a
note on the string; most of the perfor-
mance consisted of gesture control,
and I felt it was a bit unbalanced. El
overtone violin has six strings and I
wished for more amplified acoustic
sound—the lower strings especially
had a dark and subtle timbre. Este
piece was another that married folk
elementos, in this case fiddling, con
tecnología.
Suguru Goto’s VirtualAERI II used
another violin controller, the Super-
Polm, a virtual violin. Unlike the
Overtone Violin, the SuperPolm does
not have actual strings; it models the
gesture of violin performance, usando
touch sensors instead of strings on
the fingerboard and resistance sen-
sors on the bow. In addition to these
sensors there is an eight-button key-
board on the body of the instrument.
Señor. Goto is a natural performer, y
his gestures were musically sensitive.
It seemed that the sensors did not al-
ways work—sometimes a large ges-
ture did not have a corresponding
reaction in the sound or interactive
video. Sin embargo, there were some
very beautiful moments with the per-
former silhouetted against a wash of
abstract video while a thick sound
evaporated into the hall.
Ulrich Maiss and Joseph “Butch”
Rovan in Return of the Habaneros
and Hopper Confessions, respetar-
activamente, also used gesture to great ef-
fect in their works. With Mr. Maiss
on cello and Mr. Rovan on bass clar-
inet the audience had a great time
listening to two European free-jazz–
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influenced works. They had a lot of
fun onstage together in Return of the
Habaneros at points playing air cello
and air clarinet; Señor. Maiss also used
that energy to good effect in his solo
performance of Mr. Rovan’s work. I
have seen Hopper Confessions a num-
ber of times now, and I thought this
was one of the best performances.
veloping a flexible and powerful sys-
tem for tracking dancers has been a
challenge, and I am looking forward
to using their product that combines
a small LINUX-based wearable
single-board computer with a wire-
less transmitter. Users solder in their
own sensors, and the computer can
be powered by 7-V batteries.
It was refreshing to see so many in-
Other research that may be appli-
teractive performances that did not
involve people hunched over laptops.
Toichi Nagashima’s Wiggle Screamer
II was a fun example of the Japanese
approach to this aesthetic challenge.
Wearing sensors on his arms and us-
ing a light harp interface, Señor. Na-
gashima entertained the audience
with a pop-inspired pentatonic con-
fection. At times it was a little like
looking at a virtuosic Dance Dance
Revolution performance as boxes on
the screen moved in time to his arm
slaps while MIDI bells played.
Mocap Performance Instrument,
by R. Luke DuBois, Luibo Borrisov,
and Beliz Demicioglu, used both
motion-capture information from a
studio and live video-tracking in a
work for dancer with interactive mu-
sic and video. The video consisted
mainly of abstracted line drawings
from the motion-capture sessions,
some of which were more pleasing
than others. The piece had no real
hard edges—the dancer trailed
scarves of sound behind her as she
moved and it was very soothing to
hear the piece come to rest after the
dancer stopped moving. I wasn’t sure
if the sounds were recorded noises of
dancer friction, but it seemed that
way to me and it was a compelling
way to bring the sonic world closer to
the dance world.
I would have liked to see a perfor-
mance using David Topper and Peter
V. Swendsen’s “Wireless Dance Con-
controlar: Pair and WISEAR,” a general
purpose interface to a wide variety of
sensors and gestural controllers. De-
cable for motion tracking has been
done by Alain Crevoisier and Pietro
Polotti. “Tangible Acoustic Inter-
faces and their Applications for the
Design of New Musical Instruments”
describes a technique whereby using
only audio signals a computer can
detect contact points of users inter-
acting with the surface of solid mate-
rials. The resolution was astonishing
from using just two piezo contacts.
Sadly, there was not enough time to
set up a demo of this “acoustic holog-
raphy,” but I am just as excited as the
authors to be able to create con-
trollers out of any surface.
Many papers this year seemed to
specifically reference NIME. I’m not
sure if the authors submitted only to
NIME, or if they tailored their papers
respectivamente, but I was a little dis-
turbed by the amount of conference
referencing going on in the papers.
Sageev Oore’s “Learning Advanced
Skills on New Instruments (Practis-
ing Scales and Arpeggios on your
NIME)” was one such paper, yet I
found its contents compelling. Mucho
is made of new instrument design,
but often not enough time is taken to
practice the new instruments. I am
eagerly awaiting the next Clara Rock-
más, whichever new musical instru-
ment she might play.
Saturday May 28, Reviewed by
John P. Joven
The final day of the conference
kicked off with a keynote presenta-
tion from Bill Buxton, a man with
strong opinions based on decades of
experience as a researcher in com-
puter music and human–machine in-
teraction. He made his position clear
from the start, stating that tape play-
back sucks as a performance idiom,
and that sitting behind a laptop com-
puter screen mousing around is more
or less the same thing from an audi-
ence perspective. This particular reli-
gious war has been well flogged
already, but it still seems to be a good
way to get everyone’s attention early
in the morning. And Mr. Buxton
backs up his gauntlet-throwing un-
usually well. He noted that the tran-
sition from analog to digital sound
gained stability and predictability,
but lost a wealth of interesting con-
troller interfaces and thus an impor-
tant immediacy of engagement with
manipulating sound while perform-
En g. He described various environ-
ments he has worked on, emphasizing
that the interfaces were purpose-
directed, optimized for the task at
mano, be it composition, orchestra-
ción, or performance, expanding the
notion of context-sensitivity to in-
clude the entire interface rather than
just a few tools or menus as is most
often the case today.
One graphic user interface (GUI),
in an application called “Scriva,” had
some useful features that aren’t read-
ily available anymore, such as an
amplitude-context piano roll display
and multiple flavors of notation that
could be toggled for differently
weighted views of musical events:
puntaje, Music V code, timbre clusters,
etc.. Another performance GUI dis-
played multi-dimensional parametric
control data on a single screen, ori-
ented toward real-time adjustments of
tempo, amplitude, filtering, etc., usando
a tablet “mouse” as well as reflecting
parameter mapping to other tactile
continuous controllers. These clearly
valuable, extinct features reminded
us that there are many excellent ideas
Events
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out there that have already been vali-
dated but continue to languish wait-
ing for someone more interested in
exceptional design than reinventing
the wheel in their own image.
Señor. Buxton went on to assert that
it is critical for performance instru-
ments and systems to have the ca-
pacity to adapt between different
acoustic environments, es decir., concert
halls, in order to create comparable
exceptional musical experiences for
audiences in any space. Later he dis-
cussed the advantages of a virtual
control console based on a large
touch-sensitive tablet, with card-
board cut-out overlays emulating
sliders, buttons, and other structured
controls, allowing simple switching
between controller layouts for vari-
ous purposes using a single piece of
fairly simple hardware. Having im-
pressed us with the depth of his
thought and decades of work on the
sujeto, he ended by reinforcing his
initial assertion that just like sound
sí mismo, gesture is a language underpin-
ning the relationship between per-
anterior(s) and audience. Mastering
that gestural dialogue is essential to
creating a theater of performance,
that environment in which the inspi-
ration of musicians feeds the exhila-
ration of audience and back again in
wonderful reciprocity. Documenta-
tion of much of Mr. Buxton’s work
can be found at his Web site (www
.billbuxton.com).
The morning paper session, “Voice,
Gestural Control and Multimodal-
idad,” was relatively entertaining, Alabama-
ways a bonus for those of us who
eschew imbibing massive doses of
caffeinated beverages, and a couple of
presentations in particular stood out.
Elliot Sinyor showed off his “Gyro-
tyre,” a small (30 cm) bicycle tire at-
tached to a hand grip, able to spin
freely around its axis, with a wealth
of attached sensors including rota-
tional speed, dual-axis acceleration,
gyroscopic orientation, y fuerza-
sensing in the grip. Some basic map-
pings showed that the controller
could be fun to use as well as fun to
watch. Michael Lyons demonstrated
sonification of facial expressions,
which was not only hilarious but also
showed potential for meaningful in-
terpretive mappings as the system
evolves towards finer granularity and
integrative analysis of multiple ex-
pressive features. It will be exciting
to see the potential of these innova-
tive interfaces applied to more musi-
cally sophisticated purposes.
The afternoon paper session,
“Learning, Tools + Connectivity,"
showcased some interesting projects
también. Art Clay discussed “Going-
Publik,” a distributed coordinated
collaboration using handheld elec-
tronics. Esencialmente, the participant
performers use wearable computers
as instrument and global positioning
sistema (GPS) tracking interfaces,
with a dynamic score projected on
their eyepiece monitors as they tra-
verse a city. Niels Böttcher then pre-
sented “Connecting Strangers,” an
attempt to create spontaneous sonic
interactions between passengers
waiting on opposite train platforms.
The project team tried several ap-
proaches to balancing the impera-
tives of being sufficiently accessible
to learn and enjoy within a few min-
utes’s time, with enough challenge to
hold participant interest after they
“figured it out.” The interactive as-
pects of the work turned out to be the
most difficult, with additional work
and experimentation planned to en-
courage players to not only explore
their own “side” of the sound, but co-
operate across the tracks as well. Marca
Havryliv described “Pocket Game-
lan,” essentially a cross-compiler
that can translate a Pd patch seam-
lessly into Java 2 Micro Edition
(J2ME) code for deployment onto a
mobile phone or other portable de-
vice that supports J2ME. He demon-
strated live conversion of several
fairly complex patches and successful
testing in a desktop emulation envi-
ambiente, an already impressive feat
that will surely become even more so
with further refinement.
Saturday evening’s concert began
with Thomas Ciufo’s Beginner’s
Mente, shakuhachi slowly fading in,
maintaining a sense of time being
stretched and extended, with a haunt-
ing sustained atmospheric environ-
ment throughout. Then Cybersong by
Paulo Maria Rodrigues, Luis Miguel
Girão, and Rolf Gehlhaar took us in a
decidedly more dramatic direction. A
static noise began with house lights
still up—technical difficulty or be-
ginning of the piece?—then Mr. Ro-
drigues walked down the house right
aisle, donning a tux jacket as he
mounted the stage. A grand “O fre-
unde!” yielded to falsetto sostenuto
which then recycled through elec-
tronics in an eclectic cascade of con-
scious chaos. A later section turned
into a hilarious remix of the recited
texto: “A fish is a machine that pre-
serves genes in water. A monkey is a
machine that preserves genes up
trees.” This segued into manipula-
tion of “radio” waves via clownish
mouthpiece. En general, the piece was
disjointedly non sequitur, but bril-
liantly performed, concluding with
maniacal laughter building through
feedback to a final “Shut Up!"
Next came Elaine Chew perform-
ing Ivan Tcherepnin’s Fêtes (Varia-
tions on Happy Birthday) as an
interlude, eloquently played. It seems
a little dangerous to include com-
pelling purely acoustic work on the
same program as highly experimental
material, as the inevitable compari-
son underscores just how great a jour-
ney we have left ahead of us. Ye Ying
Di [Nightingale Floor] by Margaret
Schedel, in collaboration with video
artist Charles Woodman and choreog-
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rapher/performer Alison Rootberg,
started with a strikingly costumed
Rootberg all in white, arms and legs
illuminated in patterns of neon wire,
gently and gracefully unfolding in
front of projected video. The move-
ment and imagery combined evoca-
tively at times, with real-time
capture of the dancer’s glowing lines
sensitively blended into the mix.
Sin embargo, due to limitations of the
stage setup, it was difficult to cogni-
tively integrate the dancer and the
background into a coherent union.
Discerning the relationship between
EM. Rootberg’s movement and her in-
fluence on the sound and video was
also challenging, in part because
there was clearly something so al-
most there that I yearned to feel a
satisfying connection instead of just
giving up on the idea. Having seen
this work a few times before, Era
aware that many of the wonderful el-
ements I had previously witnessed
were not entirely operational for
some reason, which left me wishing
that this audience could have experi-
enced more of its full intention. Incluso
though we have learned to be forgiv-
ing when it comes to new music, it’s
always a shame when technical is-
sues restrain the artistic blossoming
of a lovely piece.
Jamie Allen attacked what ap-
peared to be a suitcase full of noise in
boomBox, to great theatrical effect. Él
might be a stretch to call it music, ex-
actly, but it was tremendously expres-
sive, surprisingly funny, and highly
entertaining from beginning to end.
Después, David Birchfield on sensor-
extended percussion and Curtis Bahn
on electronically enhanced vertical
bass performed Improvisations, a
structured exploration of the capabil-
ities of their instruments and the re-
lationships between them. Mientras
both players are very skilled and sen-
sitive, somehow here they seemed to
be inhabiting completely different,
incompatible sound worlds, con el
timbres simply refusing to gel. Este
might have been less problematic if
the sounds had been warmer and
more inviting in general.
Finalmente, Dan Trueman performed
BoSSA Studies, three short pieces for
his Bowed-Sensor-Speaker-Array in-
strument. el primero, Vocalise, sam-
pled Mr. Trueman’s voice through
headset microphone as material for
transformation and manipulation.
The second piece, Lobster Quadrille,
is becoming a classic, a setting of
the poem from Lewis Carroll’s Alice
in Wonderland. The composer-
performer persuasively showed how a
very satisfying intuitive connection
can be forged between gesture and
sound, even in a fairly abstract rela-
tionship such as “playing” text
samples with violin technique. El
last piece, Tetha, included Tomie
Hahn performing shakuhachi. El
acoustic and electronic spaces inte-
grated well, with the shakuhachi
plainly the dominant element, el
BoSSA seeming to function primarily
as effect and atmosphere. Unfortu-
nately, near the end Ms. Hahn began
barking and then things went swiftly
downhill, leaving me to wonder why
so much electroacoustic music forms
contrast against lyricism by playing
the crazy card. Is it discomfort with
using our medium as a means of ex-
pressing serious sentiment, or are we
really all just that wacky?
Publications
Arun Chandra, Editor: Cuando
Music Resists Meaning: El
Major Writings of Herbert Brün
Hardcover/softcover, 2004, ISBN 0-
8195-6669-1/0-8195-6670-5, 350
paginas, illustrated, CD-Audio,
US$ 70.00/29.95; Wesleyan Univer- sity Press, 215 Long Lane, Middle- town, Connecticut 06459, EE.UU; telephone 860-685-7711; fax 860-685- 7712; Web www.wesleyan.edu/ wespress; distributed by University Press of New England, Order Depart- mento, 37 Lafayette Street, Líbano, New Hampshire 03766, EE.UU; tele- phone 800-421-1561 o (+1) 603-643- 7110; fax (+1) 603-643-1540; Web www.upne.com/0-8195-6669-1.html. Reviewed by Ross Feller Oberlin, Ohio, USA Born in Berlin in 1918, Herbert Brün left Germany and went to Palestine shortly after the Nazis assumed power. In Palestine he studied com- position with Stefan Wolpe, Eli Friedman, and Frank Pelleg at the Jerusalem Conservatory. En 1948 Leonard Bernstein brought Brün to Tanglewood, in Massachusetts, to continue his studies. Shortly there- after he attended Columbia Univer- Publications 91 l D o w n o a d e desde h t t p : / / directo . mi t . e d u / c o m j / lartice – pdf / / / / 3 0 1 1 0 1 1 8 5 4 4 7 8 / c o m j . . . 2 0 0 6 3 0 1 1 0 1 pd . . f por invitado 0 9 septiembre 2 0 2 3 sity for a year of graduate work. From the mid 1950s until he finally settled in Illinois he worked at the now well- known electronic music studios in Paris, Cologne, and Munich, produc- ing some of the earliest examples of non-serial electroacoustic music. He also gave lectures throughout Europe and the USA on the function of mu- sic in society. En 1962, after one such lecture tour, Lejaren Hiller invited Brün to join the faculty of the University of Illinois at Urbana-Champaign. He ac- cepted Hiller’s offer in part because he wanted to work with the com- puter systems then available there. Brün entered a compositional envi- ronment that thrived on collabora- tion with other disciplines including electrical engineering, cybernetics, and cognitive theory. He co-taught courses with Heinz von Foerster on cybernetics, composition, cognition, and social change. Señor. von Foerster helped establish the field of cybernet- ics and, most importantly, developed the notion of a second-order cyber- netics which focused on self- referential systems and behaviors. The concepts behind second-order cy- bernetics, such as von Foerster’s slo- gan that, “The world, as we perceive it, is our own invention,” resonated with Brün’s own ideas about meaning and perception. After taking over Hiller’s Seminar for Experimental Music in the late 1960s, Brün began to implement some of his most radical formula- tions about music and language. He was also a conductor. Included in the many performances of contemporary music that he led are American pre- mieres of György Ligeti’s Aventures and Nouvelles Aventures. In the mid 1970s Brün helped the Computer Music Association get its start. He hosted conferences at the University of Illinois in 1975 y 1987, and was the keynote speaker at the 1985 estafa- ference (held at Simon Fraser Uni- versity, Burnaby, British Columbia, Canada). With the recently published When Music Resists Meaning: The Major Writings of Herbert Brün by Wes- leyan University Press, the opportu- nity arises for a re-assessment of Brün’s many contributions to the world of contemporary music. His compositional and pedagogical prac- tices were grounded in information theory, cybernetics, and dispersionist philosophy. He argued for the pur- poseful recognition of the social and political significance of composition, and against the tendencies of lan- guage to preempt thought. At the time of his death in 2000 Brün left be- hind a half-century’s worth of compo- sitions, playful and polemical texts, computer-generated artworks, and a group of zealously devoted former students. En 1991, Brün and several of his closest students formed what is now called the School for Designing a Society, a non-affiliated institute based in Urbana, Illinois, dedicated to the critical examination of soci- ety, idioma, and music. Members of the school have collaborated and toured with Patch Adams, the fa- mous clown-doctor and subject of a Hollywood movie starring Robin Williams. Though Brün’s legacy mostly continues in the work of his former students, his thought has sig- nificantly impacted many other com- posers and performers throughout the world. One of the primary functions of Brün’s compositional praxis was to uncover possibilities for new signifi- cance, while opposing the reification of meaning inherent in the acts of recognition and appropriation. His thoughts on these matters are de- tailed in various essays, interviews, and prose pieces contained in When Music Resists Meaning, a wonderful compendium of Brünian thought ex- pertly edited and compiled by former student Arun Chandra. Several other former students ably assisted him. This project, clearly a labor of love for Mr. Chandra, began to take shape in 1985. His work consisted of every- thing from collecting and editing Brün’s articles, interviews, and lec- tures to writing new output routines to generate Postscript code in order to print Brün’s computer-generated graphics (several of which are repro- duced in the book). He also helped produce the accompanying compact disc, which features performances of Brün’s compositions by the LaSalle Quartet, pianist John Tilbury, percus- sionist Michael Udow, and the Per- cussion Group Cincinnati, along with three of his best-known electro- acoustic pieces. When Music Resists Meaning (WMRM) is divided into six sections: “Listening,” “Composing,” “Com- posing with Computers,” “Cybernet- circuitos integrados,” “Poetry and Plays,” and “Postlude: Appendices.” The first two sections contain unpublished manuscripts and lectures, as well a previously published essay and inter- view from Perspectives of New Mu- sic, a Guest Editorial from Keyboard Magazine, and an important essay, “For Anticommunication,” that first appeared in Words and Spaces: An Anthology, edited by Stuart Saunders Smith and Thomas Delio (Lanham, Nueva York: University Press of Amer- ica, 1989). In this latter essay, Brün lays out his argument for new music based upon an idea he terms “anticommu- nication,” and describes how he attempted this in several of his com- positions. Anticommunication is essentially a provisional device used in retarding the natural decay of in- formación, which occurs when the process of meaning assignment, or semiosis, is stalled or comes to a 92 Computer Music Journal l D o w n o a d e d f r o m h t t p : / / directo . mi t . e d u / c o m j / lartice – pdf / / / / 3 0 1 1 0 1 1 8 5 4 4 7 8 / c o m j . . . 2 0 0 6 3 0 1 1 0 1 pd . . f por invitado 0 9 septiembre 2 0 2 3 standstill. Brün defines anticommu- nication as an attempt at saying something, not a refusal to say it. Commu- nication is achievable by learn- ing from language how to say something. Anticommunication is an attempt at respectfully teaching language to say it. It is not to be confused with either noncommunication, where no communication is intended, or with lack of communication, where a message is ignored, has gone astray, or is simply not un- entendido. Anticommunication is most easily observed, and often can have an almost entertaining quality, if well-known fragments of a linguistic system are com- posed into a contextual environ- ment in which they try but fail to mean what they always meant. (WMRM, pag. 63) According to Brün, all musical mate- rials, gestures, and forms inevitably lose what might be called their free- floating signification potential when- ever listeners, composers, and/or performers fail to anticommunicate. This was no small matter in Brün’s world because he saw this as a move from playfulness toward violence. He held that “the insistence on commu- nication ultimately leads to social and physical violence . . . Anticom- munication ultimately leads to the insistence on composition and peace” (from My Words and Where I Want Them, pag. 48). The third and fourth sections of WMRM contain various essays about computers and technology, first pub- lished in books such as The Com- puter and Music, On the Wires of Our Nerves: The Art of Electroacous- tic Music, and Composers and the Computer. Brün covers a wide range of topics relevant to composers of computer music, including such things as artificial systems, segundo- order cybernetics, and algorithmic composition. The fifth section contains samples of his aphoristic poems and playful theatrical skits. The postlude con- tains a brief biography, detailed lists of Brün’s compositions and publica- ciones, program notes he wrote for many of his compositions, a techni- cal description of his computer- generated graphics, a short glossary of terms, and a poignant essay entitled “Paradigms: The Inertia of Lan- guage,” written by his wife, poet Marianne Brün. At times acerbic and hard-hitting, WMRM showcases the “brutally charming” (the author’s terminol- ogia) notions that Brün first intro- duced to his American colleagues and students over four decades ago. Por último, the sense of bewilder- ment or alienation in his work served to probe and extend his ideas about freedom and human under- de pie. I close with a personal re- membrance that is emblematic of Brün’s public discourse. I recall a post-concert question and answer session at the University of Illinois at which a student pointed to one of the composers and asked why he had written such a “cold” and “calcu- lated” piece. Before an answer was given Brün turned toward the student and said, “So, you listened without a heart, did you?” Herbert Brün’s music is pub- lished by Smith Publications (2617 Gwynndale Avenue, baltimore, Maryland 21207, EE.UU; Web www .smith-publications.com). His record- ings are available from Centaur, Non Sequitur, Opus One, CRI, and the University of Illinois Experimental Studios labels. His compact disc recordings and books are available from www.nonsequiturpress.com/. For more information, consult the Brün Web site (www.herbertbrun.org). Jim Aikin, Editor: Software Synthesizers: The Definitive Guide to Virtual Musical Instruments Softcover, 2003, ISBN 0-87930-752-8, 304 paginas, illustrated, foreword by Bob Moog, CD-ROM, US$ 29.95;
Backbeat Books, 600 Harrison Street,
San Francisco, California 94107,
EE.UU; telephone (+1) 415-947-6615;
fax (+1) 415-947-6015; electronic mail
books@musicplayer.com; Web www
.backbeatbooks.com/.
Reviewed by S. Lyn Goeringer
seattle, Washington, EE.UU
Software Synthesizers: The Defini-
tive Guide to Virtual Musical Instru-
mentos, edited by Jim Aikin, es un
collection of product reviews from
Keyboard magazine. The focus of the
book is to introduce the reader to
some computer music/electronic
music products that are on the mar-
ket, provide insight into these prod-
ucts, and introduce the reader to
basic electronic music concepts by
providing simplified definitions for
concepts such as MIDI, FM synthe-
hermana, and sampling rates.
The book has some immediate
limitations. The first and foremost is
that it is a collection of product re-
views for products that are either
now obsolete or have greatly evolved
since the initial publication of the
trabajar. An easy example of how much
has changed is the book’s statement
that Max/MSP does not run on Mac
OS X. It is important to remember
when reading this book that the spec-
ifications given for each product as
well as their pricing and availability
have changed a great deal in the past
few years. If you find yourself inter-
ested in any products discussed in
this book, it would be strongly ad-
vised to find out if the product is still
disponible, what its current specifica-
Publications
93
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products are to be reviewed. El
classes of items reviewed are: soft-
ware that models its sounds on real
instruments (such as the Steinberg
Model-E Software Mini-Moog),
virtual-analog suites (such as Native
Instruments Absynth or the VirSyn
Tera), virtual rack systems (Reason,
Image-Line Fruityloops), sample play-
ers (Tascam GigaStudio, Ableton
Live), design suites (Cycling ’74
Max/MSP), and percussion modules
(Waldorf Attack, Steinberg LM4
Mark II). There is only scant discus-
sion of products such as Digidesign
Pro Tools, Steinberg Cubase, Mark of
the Unicorn Digital Performer, o
Cakewalk Sonar. These are men-
tioned only to recommend them as
host applications for plug-in “soft-
synths” and as being an important as-
pect of home studio design. Sobre el
entero, the book is devoted to soft-
ware that generates sounds, and is
less interested in the sequencing and
combination of sounds.
As noted, the reviews are collected
from Keyboard magazine, and are ba-
sically reprints of articles. Where
posible, Señor. Aikin has supplied in-
formation regarding changes from the
time of an article’s original print
fecha. Each review follows a similar
format: an overview of the product, a
description of what happened when
the reviewer ran the software through
its paces, and what the opinion is of
each reviewer.
The book comes with a DVD-
ROM containing a collection of
demonstration plug-ins from Able-
tonelada, Antares, Arturia, BitHeadz, IK
Multimedia, LinPlug, Native Instru-
mentos, Propellerhead, Seer Systems,
Software Technology, and VirSyn.
The demos are for either Macintosh
or Windows, with some software
working on both platforms, y ahí
are a few fully functional freeware
programs provided, such as Soundfo-
rum Synth from Native Instruments.
For many of the programs, hay
also MP3 files available so that you
can hear what the potentials are for
the software in its full format.
Though this book has many limita-
ciones, primarily the datedness of the
reviews, it is useful for the novice as it
offers great introductory information
to what is involved in electronic and
computer music, and it also provides
detailed descriptions as well as easy-
to-access demonstrations of software
that has been available in the past (en
many cases, versions are still available
of these plug-ins). Whether the book
helps one to purchase the various
pieces of software discussed is less im-
portant than having access to informa-
tion for what is possible, and in this
the book offers some great overviews.
It is much less useful for the moderate-
to-advanced computer musician, as it
is geared toward newcomers and the
information is not current. It is pos-
sible to hunt down the reviews in the
book by looking through archives of
Keyboard magazine, though markedly
less convenient.
Portraits Polychromes: John
Chowning
Softcover, 2005, ISBN 2-87-623-164-
6, 122 paginas, €13; GRM Institut Na-
tional de l’Audiovisuel, Maison de
Radio France, 116 avenue du Prési-
dent Kennedy, 75220 París, Francia;
telephone (+33) 1-56-40-29-88;
electronic mail grm@ina.fr; Web
www.ina.fr/grm/acousmaline/
polychromes; Éditions Michel de
Maule, 41, rue de Richelieu, 75001
París, Francia; telephone (+33) 1-42-
97-93-48.
Reviewed by James Harley
Guelph, ontario, Canada
This slim volume on John Chowning
is the seventh in the Portraits poly-
tions are, and what the current price
es. This being said, sin embargo, the book
does offer some useful information to
the novice computer musician.
The format of the book is simple to
seguir, and the language is conversa-
tional. The book begins with simplis-
tic definitions of what synthesizers
son, how they can be implemented as
software, and how these can apply to
your home computer along with
what other types of options there are.
All of these discussions are laced
with some amount of humor. Cuando
new concepts are introduced, Señor.
Aikin provides a brief and simple ex-
planation of terms. These explana-
tions are not designed to teach you
how to operate a specific device or
how to fully understand a specific
concern (such as the mathematical
concept of floating-point), but merely
to break down how to apply a rating
or manufacture spec sheet to the
functionality of a program. The final
chapter of the book is perhaps the
one most useful to the novice as it of-
fers an easy-to-understand introduc-
tion to basic synthesis concepts.
The book is a collection of product
reviews. Each chapter begins with a
basic introduction of what types of
94
Computer Music Journal
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are to be lauded for their efforts in
spearheading not only this volume
but the whole series. If you do not
read French yet, now would be a good
time to start, as the Portraits poly-
chromes series is an extremely valu-
able addition to scholarly resources
on computer and electroacoustic mu-
sic. En particular, I would note the in-
novative and highly informative Web
sites connected to each volume (estafa-
sult www.ina.fr/grm/acousmaline/
polychromes and follow the links to
the individual sites), which include,
among other things, graphic analyses
of selected pieces presented in con-
junction with audio playback of the
música. (It was on this site, for ex-
amplio, that I discovered that Mr.
Chowning has just recently com-
pleted a new composition, Voices, su
first since Phoné from 1981.)
This volume on John Chowning
opens with an extensive interview
with Évelyne Gayou, a composer as-
sociated with GRM/INA, serving
there as Director of Publications.
Encima 18 paginas, this interview covers
much of his career, from his early
studies with Nadia Boulanger, to his
work at the Artificial Intelligence
Lab at Stanford University, to the es-
tablishment of CCRMA, etcétera. I
was rather surprised to learn that Mr.
Chowning had been turned down for
tenure by Stanford in 1973. This was
after he had published his work on
FM synthesis! Luckily for the univer-
sity, the decision was eventually
overturned, and the millions of dol-
lars in royalties from Yamaha there-
after accrued to the school’s coffers,
turning out, apparently, to be one of
the most lucrative licenses in the uni-
versity’s history. In this interview, nosotros
are also reminded of the close connec-
tion between the work in computer
music at Stanford and the establish-
ment of the Insitut de Recherche et
Coordination Acoustique/Musique
(IRCAM). Señor. Chowning served as a
consultant to Pierre Boulez and oth-
ers during the planning stages of
IRCAM, and spent time at IRCAM
pursuing research on voice synthesis
más tarde. En efecto, IRCAM was in certain
respects modeled on CCRMA, y
the strong relationship established in
the 1970s has continued. Notablemente,
both Stria and Phoné were produced
as a result of commissions awarded
to Mr. Chowning by IRCAM.
After the interview, there is a short
article by Mr. Chowning himself, dat-
ing from 2004, titled “Composer le
son lui-même” [Composing the Sound
Itself]. In six pages, the composer-
researcher outlines his interest in
creating sounds on the computer,
making reference to the seminal
work of Jean-Claude Risset. Bastante
than discussing particular synthesis
methods, such as FM, he notes the
possibilities for creating transforma-
tions of timbre by applying dynamic
envelopes and vibrato to sinusoidal
components of a sound.
Señor. Risset, who has known Mr.
Chowning since meeting him at Bell
Labs in 1968, has penned for this vol-
ume a lengthy article on his work,
combining biography with technical
exegesis. “Sur l’impact de l’oeuvre
scientifique, technique et musicale
de John Chowning” [On the Scien-
tifico, Técnico, and Musical Impact
of John Chowning] is a model of clar-
ity and insight, y, en 28 pages in
length, will no doubt long remain a
crucial introduction to this impor-
tant figure.
There follows a short article by
Yann Geslin, “John Chowning: de
l’informatique à la composition mu-
sicale” [John Chowning: from Com-
puter to Composition], cual
situates Mr. Chowning’s work in the
context of succeeding generations of
composers who have been able to
carry on from his ground-breaking re-
search and applications.
The remainder of the book con-
Publications
95
chromes series published by the
Groupe de Recherches Musicales/In-
stitut National de l’Audiovisuel
(GRM/INA) in cooperation with the
Centre de Documentation de
Musique Contemporaine (CDMC).
Other volumes in the series have
highlighted Jean-Claude Risset, Luc
Ferrari, Bernard Parmegiani, Gilles
Racot, François Bayle, and Ivo Malec.
John Chowning’s work is central to
the field of computer music, but his
publications and compositional out-
put have been relatively sparse. Para
all his work on digital frequency
modulation and spatialization, his ef-
forts to establish and maintain the
Center for Computer Research in
Music and Acoustics (CCRMA) en
Universidad Stanford, and his mentor-
ing of generations of computer musi-
cians, this is the first volume entirely
devoted to Mr. Chowning’s life and
trabajar. One can only wonder at the
state of things in America that such
an important publication would arise
only in France, and in French. Re-
gardless, Daniel Teruggi, Pierre-
Albert Castanet, and Évelyne Gayou
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tains analytical discussions of Mr.
Chowning’s music. Laurent Potter
presents an 18-page analysis of Ture-
nas (1972). He outlines the structure,
the canons that underlie parts of the
piece, the spectral organization of the
bell sounds, and the aleatoric rhyth-
mic procedures used in various sec-
ciones. Además, he explains the
paths of spatialization, the use of re-
verberation, and details of the FM
synthesis algorithm. Bruno Bossis
presents a similarly detailed study of
Stria (1977) in his 29-page article,
“Stria de John Chowning ou l’oxy-
moron musical du nombre d’or
comme poétique” [John Chowning’s
Stria or the Musical Oxymoron: El
Poetics of the Golden Mean]. In his
discussion, Señor. Bossis devotes useful
space to an explanation of the Golden
Mean and how Mr. Chowning ap-
plied it to FM synthesis and the cre-
ation of unique timbres and
harmonic relationships. Señor. Bossis
also contributes a very short discus-
sion of Phoné (1981).
These analyses are augmented by
the presentations on the associated
Web site (cited above). Graphic out-
lines of the pieces are linked to audio
recordings, enabling the listener to
follow along. Being able to take infor-
mation gleaned in the articles to the
pieces themselves is of great value,
in my opinion. One may be limited
in terms of sonic quality (the audio
on the Web is compressed), pero el
avid listener could then go on to the
compact disc recording of the works
(Wergo WER 2012-50), still avail-
able from various sources (como
cdemusic.org).
Each of the articles in this book in-
cludes bibliographic references, y
the final two pages include a listing
of articles authored by Mr. Chown-
En g, interviews, and a few other
elementos. I have no idea why an inter-
view by Denis Mercier would be
listed under “In Collaboration with
John Chowning” [En collaboration
avec . . . ] when another interview by
mi. Krick would be listed under “On
John Chowning” [À propos de . . . ].
In that category, cassette and phono-
graph recordings from IRCAM pre-
senting Stria are listed as references,
along with a biographical entry by
mi. Ruth Anderson. I doubt the audio
items would be available anywhere
outside of the IRCAM reference li-
brary, but hopefully they are at least
accessible there.
En conclusión, this is a valuable
study of an important figure in com-
puter music. There do not appear to be
any plans to publish an English ver-
sión, but perhaps that is because we
haven’t requested it strongly enough!
In the meantime, pull out your
French–English dictionary, if you
have to, and get started. And do check
out the Web site at GRM; it’s a great
reference in itself (and there are plans
to translate parts of it to English).
Douglas Spotted Eagle: Vegas5
Editing Workshop, 2nd Edition
Softcover, 2004, ISBN 1- 57820-257-4,
447 paginas, illustrated, with DVD-
ROM, US$ 49.95; Published by CMP Books as part of the Digital Video Ex- pert Series, 600 Harrison Street, San Francisco, California 94107, EE.UU; Web www.cmpbooks.com. Reviewed by Jim Hearon Honolulu, Hawaii, USA This book is an update of Vegas4 Editing Workshop, and follows up on recent developments in the Vegas software, including Sony’s HDCAM/ DVCAM acquisition and editing tools. Vegas has been upgrading yearly, normally previewing at Na- tional Association of Broadcasters (NAB) convention, and announcing their upgrade version shortly after- wards. More recent improvements in Vegas6 continue with digital camera acquisition tools and do not substan- tially change the basic audio or video engine, thus while this book is a solid guide to Vegas5, it will also function well for Vegas6. The audio engine has always been at the core of what Vegas is all about as a non-linear editor. Vegas Video grew out of the audio engine that was Vegas Audio which has always been a solid hard-disk recording and edit- ing program. Now Vegas5 features surround-sound plug-ins for audio en- coding and has panning buses for 5.1 channel mixing. The book does not dwell on these features of Vegas5, which are numerous; bastante, in as- suming the reader is familiar with the rich feature set and menus, it presents an insider’s point of view on how to use several of those features and move to expert level for more ad- vanced project work. Por ejemplo, author Douglas Spotted Owl writes about how to use an external MIDI device to control the software in Ve- gas. Este, combined with software automation, a nice set of DSP and FX plug-ins, integration of your favorite audio editor, and surround-sound panning buses, gives you enough au- dio tools that you never have to leave the track sheet environment to start working with video. The layout, edición, and look of the video tracks in Vegas come from the early audio multitrack recorder envi- ronment which is what I like, si arriba- posed to working with a timeline and separate windows. De este modo, the ability to organize and scroll through audio and video tracks in one window works well for me. One of the book’s best chapters on video is appropri- ately about composting, which is also one of the strongest features of the video engine. Additional chapters highlight filmic aspects of Vegas5. Another aspect of Vegas I like is 96 Computer Music Journal l D o w n o a d e d f r o m h t t p : / / directo . mi t . e d u / c o m j / lartice – pdf / / / / 3 0 1 1 0 1 1 8 5 4 4 7 8 / c o m j . . . 2 0 0 6 3 0 1 1 0 1 pd . . f por invitado 0 9 septiembre 2 0 2 3 the availability of interesting video plug-ins and there is a short chapter in the book showing interesting video effects achieved from using some of these plug-ins. The program comes with several Sony plug-ins for audio and video processing as well, and the ability to encode into a vari- ety of file formats including a new Sony YUV 4:2:2 codec for delivery of Standard Definition files which can later be encoded/decoded into a vari- ety of file formats. The DVD-ROM included with the book contains source video files, stock stills, ACID loops, sample Ve- gas project files, two bonus chapters left out of the book, demo and free software, a collection of legal forms such as Copyright forms, Location releases for the independent film- maker, and several free and trial-use plug-ins. Vegas is plenty powerful for ren- dering to MPEG file format and using the companion DVD-Architect2 for multiplexing and burning to DVD- Video. For High Definition (HD) video, if one is lucky enough to have access to Sony peripherals such as an HDCam, JH3 Tape Playback Deck, Xpri, and an HDCam Recorder Deck, then Vegas can help you develop 24p EDLs (Edit Decision Lists) as uncom- pressed AVI files using the Xpri. These can then be sent to a post house for mastering or used to make 24p DVDs in NTSC or PAL. An alter- native to Xpri now exists in version 6 of Vegas with the DeckLink software and PCI card support for both Apple Mac OS X and Microsoft Windows XP for capturing, edición, supervisión, and printing-to-tape using the SDI (serial digital interface) format in 10- bit uncompressed video. For larger HD projects, the book includes a “how-to” guide on network rendering (render farming), a helpful start for setting up distributed rendering. Vegas is extremely powerful as a computer-based nonlinear editor for the home user, and is also in use at the upper end of project studio work and in the corporate environment for media production as well. There are also educational discounts for site li- censes available for using the pro- gram in the school computer lab. With recent software upgrades for ease of digital camera acquisition, Ve- gas clearly seems headed in the direc- tion of integrating this software for use with Sony hardware and utilizing those features for nonlinear editing of digital film. I found the book easy to read, and the examples are clearly produced by an experienced user. The book is best used after gaining a little bit of expe- rience with Vegas and becoming ready to move to a higher level of user proficiency rather than as a starting point for working with the software. A lot of software instruc- tional guides become muddled in the amount of time spent on the intro- duction of technical aspects, navigat- ing you through the menus and features, revealing tips and tricks, or dwelling on areas of specialization. Vegas5 Editing Workshop has hit just the right note, includes a good mix of topics, and will most definitely help improve your user techniques and workflow. Marina Bosi and Richard E. Goldberg: Introduction to Digital Audio Coding and Standards Hardcover, 2003, ISBN 1-4020-7357- 7, 434 paginas, introduction by Leonardo Chiariglione, US$144.00;
Kluwer Academic Publishers (now
known as Springer Science+Business
Media Inc.), 101 Philip Drive,
Assinippi Park, Norwell, Massachu-
setts, EE.UU; telephone (+1) 781-681-
0537; fax (+1) 781-681-9045; Web
www.springerlink.com/.
Reviewed by Bob L. Sturm
Santa Bárbara, California, EE.UU
Stanford University’s well-known
Center for Computer Research in
Music and Acoustics (CCRMA) tiene
offered a class since 1997 that intro-
duces digital audio coding by a lead-
ing researcher in the field, Dr. Marina
Bosi. By the end students not only
understand the concepts behind au-
dio coding, but are able to create a
functional encoder and decoder—
known together as a codec—for audio
signals. As the authors state in the
preface, “The ultimate goal of the
class, and now of this book, is to pres-
ent the student and reader with a
solid enough understanding of the
major issues in the theory and imple-
mentation of perceptual audio coders
that they are able to build their own
simple audio codec” (pag. xvii). El
text traverses the wide range of sub-
jects necessary for accomplishing
this task, from as basic as how analog
signals can be represented with dis-
crete bits to as complex as how an
hour of CD-quality audio can be rep-
resented with 60 megabytes (MB) en-
stead of 600. The numerous readings
and notes given in the six years the
class has been offered before the pub-
lication of this book, which has in-
cluded technical articles, libro
capítulos, and standards documenta-
ción, has been summarized and com-
piled in a natural way by Ms. Bosi
and Mr. Goldberg. The end result is a
book that can serve both as a class
text and as a reference.
De hecho, understanding digital au-
dio coding is essential for an under-
standing of all the technology that
surrounds the computer musician,
from the tools used to create music
to the methods used to distribute it.
Por ejemplo, the technology behind
the CD, DVD, and MP3 are all made
possible by audio coding techniques.
This text will aid the reader in under-
Publications
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standing the state-of-the-art in digital
audio coding without having to read
through numerous complex stan-
dards documents.
The book is arranged in two major
secciones, and has 15 chapters in total.
The first and largest part (chapters 1–
10) presents audio coding methods
from the basics, like digital represen-
tations and the frequency domain, a
more complex topics like the modi-
fied discrete cosine transform and
perceptually informed bit allocation.
The second part (chapters 11–15) goes
into detail about numerous audio
coding standards, from MPEG-1 to
the still developing MPEG-4, offering
a great history and overview of cur-
rent developments in audio coding.
The first chapter introduces the
field of audio coding and provides
motivation for learning representa-
tion schemes more complex than
pulse code modulation, namely to
better utilize bandwidth. Chapter 2 es
devoted entirely to quantization, o
the limited precision of digital repre-
sentaciones. One of the topics in this
capítulo, Huffman coding, is essential
to completely understanding the
ideas behind MPEG-1 Layer III, o
MP3. A brief excursion into mathe-
matics is taken in chapter 3, dónde
useful concepts like the Fourier
transform and the frequency domain
are presented. The most important
theorem of digital audio, the sam-
pling theorem, is also presented.
Chapters 4 y 5 are the real meat
of the book, introducing psuedo-
quadrature mirror filtering (PQMF),
the discrete Fourier transform (DFT),
and the modified discrete Cosine
transform (MDCT). These chapters
require devoted concentration and
cross-referencing to fully understand
the material. These topics are essen-
tial, because they form the central
components in modern audio coding
algoritmos. Por ejemplo, the PQMF
allows one to split an audio signal
into many frequency-isolated signals
for more efficient processing, y para
reassemble the sub-bands without
distortion and without increasing the
data rate. This technique is used in
MPEG-1 Layer I and II coders. El
DFT and MDCT are presented in
capítulo 5; they are used in MPEG-2
AAC, Por ejemplo. Instead of con-
volving blocks of a signal by PQMF
impulse responses, transform-based
coders window the signal and use the
DFT to work directly in the frequency
domain. Overlapping windows would
increase the data rate were it not for
its time-domain aliasing cancellation
propiedad. Juntos, the PQMF and
MDCT are used in cascade in the
MPEG-1 Layer III codec.
The final four chapters of the first
part of the book introduce psychoa-
coustics and perceptual audio coding,
and illustrate the benefits of taking
advantage of human auditory limits.
Chapter 6 provides an introduction to
the science of psychoacoustics, de
the hearing threshold and Fletcher-
Munson curves to the phenomena of
time and frequency masking. The fi-
nal part of this chapter presents the
anatomy of the ear and how it works.
Chapter 7 introduces models of hear-
ing for use in audio coding. These are
motivated by the idea that if certain
parts of the spectrum of a signal are
inaudible due to masking, fewer bits
can be allocated to those parts be-
cause the resulting distortions will
not be heard. Methods for distribut-
ing the bits are the subject of the next
capítulo. Here one finally sees how 10
MB of audio can be represented in 1
MB or less with little to no loss in
quality.
The goal of the book, assembling a
codec that takes advantage of human
perceptual limits, is the subject of the
penultimate chapter of the first sec-
ción. Here the authors discuss how
the various pieces that have been
studied fit together. From the compu-
tation of masking curves, to the con-
tent of the file headers, and even to
some comments on the business of
the deployment of codecs, this chap-
ter is the last thing one needs to build
an audio codec, provided one already
has programming experience. Después
this then, all that is left is to measure
the quality of your implementation
on a variety of sources, and fine-tune
your system. How to do so within
professional guidelines, and the vari-
ous artifacts created by the coding of
audio, is the subject of the final chap-
ter of the first half.
Parte 2 of the book goes into detail
about five audio coding standards:
MPEG-1, MPEG-2, MPEG-2 AAC,
Dolby AC-3, and MPEG-4. Estos
standards, as applied to audio, are all
meant to provide methods to code
audio in perceptually lossless ways
by incorporating psychoacoustic
modelos. Chapter 11 presents a history
of several MPEG standards and the
goals each is meant to accomplish.
The MPEG-1 audio standard, a speci-
fication for reducing the data rate for
high quality audio synchronized to
video, is then presented in detail.
This standard led to the development
of MPEG-1 Layer III format, or the
MP3 format that many know and
love. The functional blocks of each
layer are discussed and their differ-
ences pointed out. The psychoa-
coustic models and bit allocation
schemes used in MPEG-1 are pre-
sented as well.
MPEG-2 audio is the subject of
capítulo 12. This standard is meant to
improve upon MPEG-1 audio for
lower data rates and multichannel
audio applications. Achieving this re-
quires lower sampling rates, cual
represents a reduction in signal
bandwidth. Este, sin embargo, is an ac-
ceptable compromise for some appli-
cations, like browsing music online.
Multichannel audio is introduced
next, and how it is encoded into a
98
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two-channel standard is presented.
An extension to MPEG-2, known as
Advanced Audio Coding (AAC) es
presented in chapter 13. This stan-
dard addresses the limitations im-
posed on MPEG-2 by the requirement
that it be backwards compatible with
MPEG-1. Without this restriction,
MPEG-2 AAC allows sampling rates
of up to 96 kHz, 48 channels of sound
with various loudspeaker configura-
ciones, and superior sounding audio
quality at higher bit rates.
The next chapter presents a stan-
dard outside the realm of MPEG,
Dolby Digital (AC-3). This format is
used for DVD and High Definition
television. Like MPEG-2, AC-3 is
meant to support multichannel audio
accompanying video. It supports up
to five channels in various configura-
ciones. Unique to this format is its
flexibility in letting users specify dif-
ferent settings such as dynamics con-
controlar, different speaker configurations,
and multilingual support.
The final chapter deals with the
MPEG-4 audio standard. Unlike the
previous MPEG standards, MPEG-4
is a broad collection of specifications
and tools for “media objects” such as
still images, video, and audio, and in-
cludes functions that can alter them,
such as special effects. In this way it
is not a single algorithm for the cod-
ing of audiovisual data. It is meant to
address a wide range of scalable appli-
cations, such as digital broadcasting,
mobile communication, and interac-
tive multimedia, at numerous data
tarifas. The tools it contains include
tools for speech coding and synthesis,
high-quality audio coding, sound syn-
tesis, and even tools for intellectual
property management.
The authors do an excellent job re-
lating the numerous topics covered
in the book to the main goal of creat-
ing an audio codec. In many places
they mention which coding standards
use the information just presented.
The reader understands at once the
importance and applicability of the
material. Because this book is in-
tended in part to enable a reader to
design and build a codec, ya sea
is compliant or not with existing
standards, the authors are thoughtful
enough to include at the end of each
chapter key references, así como
practical exercises for a deeper under-
standing of the material. These exer-
cises, most of which require
programming of some kind, are great.
I was able to do most of them using
MATLAB, but with many free and
open-source audio libraries available,
they could just as easily be done in
another language.
Two unfortunate problems with
this text are the figures and the equa-
ciones. All the figures are in black and
white, which becomes a problem
when a graph has several lines that
cannot be discerned one from another.
Usually the figures can be properly
interpreted, but having to spend time
decoding it because of formatting is
annoying. The formatting of all of the
equations in the text is also trouble-
alguno. First there are no equation
numbers, so referencing an equation
from within the text is usually lim-
ited to paragraphs near its appearance.
Segundo, some of the equations are
formatted like they were copied and
pasted from an ASCII text file, ren-
dering them difficult to read. Por último,
the notation is inconsistent. In many
ecuaciones, but not all, the use of “*”
denotes multiplication. Returning to
the text for reference at a later time I
had considerable confusion as to why
two windows were being convolved
instead of multiplied. With no sym-
bol table included with the text, Yo tenía
to find the first instance of their sym-
bol for convolution (“°”).
Introduction to Digital Audio Cod-
ing and Standards is quite straight-
forward and is a welcome summary
of the numerous and sometimes-
obfuscating standards documents. Él
presents all topics relevant to audio
coding in a logically arranged order,
which is something that instructors
and students who use this text will
appreciate.
Recordings
Leslie Stuck: Pas
Compact disc, c74-008, 2003; avail-
able from Cycling ’74, 379A
Clementina Street, San Francisco,
California 94103, EE.UU; telephone
(+1) 415-974-1818; fax (+1) 415-974-
1812; electronic mail info@cycling74
.com; Web www.cycling74.com/c74/.
Reviewed by Peter V. Swendsen
Charlottesville, Virginia, EE.UU
Few computer music composers are
as intensely and exclusively commit-
ted to scoring for dance as Leslie
Stuck. Although this deprives con-
cert audiences of his provocative mu-
sic, it serves to highlight his
infatuation with movement and his
skill for creating its sonic surround-
ings. Señor. Stuck’s recent compact
disc, Pas, grants everyone a glimpse
into the vibrant soundworld that
dance audiences have been enjoying
for many years. Spanning ten years of
work realized in collaboration with
choreographers in Europe, Japón, y
on both U.S. coasts, the compositions
on Pas allude to their fundamental
relationship with dance while also
standing firmly on purely musical
ground. There is movement to be
found and felt in this music whether
you are performing to it onstage or
listening to it while sitting at home.
It is worth mentioning at the out-
set that any critical treatment of this
Recordings
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Soothing the Enemy uses a berim-
bau as its primary—or at least most
recognizable—sound source. This is a
more compelling starting point than
the collection of instruments in spe-
cial x. Perhaps Mr. Stuck agrees, como
the berimbau samples often appear
without extensive processing. Allá
is also ample space in the gestures
aquí, one of many indications on Pas
of Mr. Stuck’s sensitivity to the need
for moments of silence, even if they
are brief. This sonic prudence bene-
fits the music and especially suc-
ceeds in the dance theater, when an
unsympathetic constancy of sound
and movement can easily overwhelm
an audience. Soothing the Enemy is
tight and focused, its rhythmic groove
supporting a satisfying use of spatial
movement and registral ranges.
Though it is included here as an ex-
cerpt of the longer original work, él
feels whole and well structured.
The more limited pitch world of
maxi-zub makes its rhythmic charac-
ter all the more driving. A single high
piano note instigates much of the ad-
ditive action here, as other piano
sounds and sampled material snap to
an unyielding metric grid. Aquí
de nuevo, one can witness Mr. Stuck’s
ability to assist, but not overwhelm,
the dance for which he composes.
Though the rhythmic foundation of
mazi-zub seems poised to support ex-
tended melodic and harmonic lines,
Señor. Stuck keeps these to a minimum,
granting the choreographer and audi-
ence their own gestural space in
which to function.
Pas is at its most organic in Con-
volution, a composition with wider-
ranging gestures and formal
departures than its counterparts. Its
modulations in size, espacio, and mood
carry Convolution on a living and
breathing path through sparseness,
self-invention, and frenetic density.
Though it stumbles into a slightly
meandering section in the middle
(quite possibly a choreography-
necessitated restraint in Mr. Stuck’s
otherwise active score), its formal
shape is both welcoming and imagi-
native. As is the case in other pieces
on Pas, Convolution breaks down to
a minimal collection of sounds and
gestures about two-thirds of the way
through the piece. Sin embargo, en esto
caso, the rebuilding that occurs as the
piece approaches its end never quite
attains the ferment heard earlier, a
tactful touch that leaves one wanting
more after an engaging nine minutes.
The aptly titled Go sneaks into the
fray as the penultimate piece on Pas.
This frantic miniature is electric and
bubbling. It both flies by and allows
you to get lost in its midst, like the
two minutes when you decide you
are fed up with your list of demands
for the day and pull quickly onto that
inviting back road that will whisk
you out to the country, where you
can drive fast and open the windows.
Mondriaan was the first piece of
Señor. Stuck’s that I experienced in con-
cert, paired with the intense and
finely crafted choreography of Mary
Cochran. Though complete conjec-
ture on my part, the title perhaps
refers to Mr. Stuck’s algorithmic
compositional processes, cuales son
employed throughout Pas, y cual
echo the painter Piet Mondriaan’s
weighted grids in their rhythmic char-
acter and subtle shifts of focus. In any
caso, this final piece is wonderfully
cinematic. Its sounds have character,
it plays with perceptions of fore-
ground and background, and its rhyth-
mic and gestural “cuts” keep the
pacing fresh and engaging. Sampled
sound objects pop out from a linger-
ing and lush texture of strings, cada
so often initiating a tangential depar-
ture that sometimes succeeds in lead-
ing the piece to new territory and
sometimes is thwarted by a reasser-
tion of existing material. At times it
feels like a struggle between nature
music is incomplete without a simul-
taneous consideration of the choreog-
raphy with which it resides on stage
(though such attention is largely be-
yond the scope of this review). Esto es
particularly the case with Mr. Stuck’s
music not because his compositions
do not deserve independent analysis
and response, but rather because Mr.
Stuck places tremendous importance
on creating a meaningful, intimate,
and non-hierarchical relationship be-
tween sound and movement. Teniendo
experienced some of the pieces pre-
sented on Pas in concert, I can assure
you that he succeeds in this enterprise.
Though each of the six pieces on
Pas has its own distinct character and
energía, there are certain qualities
they all share: crispness, rhythmic
vigor, allusions to or direct use of
acoustic instruments, Y solo
enough whimsical sound objects to
keep you guessing while submerged
in an inventive soundworld. El
opening piece, special x, exemplifies
Señor. Stuck’s predilection for acoustic
instruments, which he samples, pro-
cesses, and assembles to great effect.
Though at times the timbres of spe-
cial x sound slightly dated to 2005
ears, the soundworld in general is in-
credibly precise as Mr. Stuck plays
with the boundaries of source recog-
nition, letting each sonic element
have its say, until an undeniable
rhythmic insistency emerges.
100
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and industry, at others like you are
standing on a knife-edged peak where
on one side of you is the most amaz-
ing view you have ever had and on
the other is a fall to certain death.
Given his dedication to the venue,
the collaborators with which he
obras, and most importantly, the en-
ergy and quality of his work, it is clear
that anyone even remotely interested
in composing for dance (or dancing to
new music) should immediately fa-
miliarize themselves with Mr. Stuck’s
música. But other listeners, composers,
and computer musicians in general
would do well to explore the works on
Pas. Their rhythmic invention alone
makes them well worth a listen, con
superior sonic features, high-level pro-
ducción, and finely crafted structures
thrown in as a bonus. Experience Mr.
Stuck’s music live if you can, as it is
a real treat to see choreography and
music interact so convincingly, pero
in any case, do take advantage of fi-
nally having this appealing collection
in portable CD form.
Multimedia
Toni Dove: Sally or the Bubble
Burst
DVD-ROM, 2003, Bustlelamp Pro-
ductions, US$ 49; available from Cy-
cling ’74, 379A Clementina Street,
San Francisco, California 94103,
EE.UU; telephone (+1) 415-974-1818;
fax (+1) 415-974-1812; electronic mail
info@cycling74.com; Web www
.cycling74.com/.
Reviewed by S. Lyn Goeringer
seattle, Washington, EE.UU
Sally or The Bubble Burst is an inter-
active DVD-ROM written, directed,
and designed by Toni Dove. It is an
excerpt from a larger work-in-progress
titled Spectropia. The DVD takes you
through different scenarios in which
you can interact and observe various
characters, including Sally, who was
designed by Toni Dove and based on
a real life burlesque/nude dancer
from the early-to-mid part of the last
siglo, Sally Rand. Through the use
of Max/MSP and Jitter, the disc is de-
signed so that you can interact
within certain segments through a
speech recognition program, a cómo-
puter keyboard, or through move-
ment of a computer mouse. It can
only be operated on Macintosh plat-
formas (Macintosh OS 9.1–9.2.2 or
Max OS X 10.2 or later; a microphone
is required to use the speech recogni-
tion capabilities of the work).
The main menu of the DVD has
four options, which I will describe
briefly. The first option is to play the
programa, the second is to play “Sally
Sings,” and then there are two pre-
views of coming attractions from Ms.
Dove: Artificial Changelings and
Spectropia (which is the project Sally
or The Bubble Burst is a part of).
When you play the program, un nuevo
menu screen comes up. You may
choose here to speak directly to Sally
using the speech recognition pro-
gram, or you may interact with her
using your keyboard. After making a
selección, you may select one of three
zones within which to interact with
Sally and the other characters in the
world she inhabits.
In Zone 1, you are able to have a
conversation with Sally. The conver-
sations are based on either speech
recognition or typed-word recogni-
ción. If you are typing in your ques-
tions and responses to Sally, el
conversation seems to be brief and to
offer less varied responses. Si usted
have a spoken conversation with
Sally, the conversation lasts longer
and the responses seem to have more
variación. The content of the conver-
sation comes from quotes either
about the actual life of Sally Rand, o
at times even quotes from the actual
Sally Rand. The comment she offers
when discussing whether you find
her performance shocking that “some
people probably would want to put
pants on a horse,” was originally
made by Superior Judge Joseph B.
David (19 Julio 1933) when discussing
charges brought forward relating to
her performance at the Chicago
World’s Fair in 1933.
There are several strange things that
occur while carrying on the conversa-
tion with Sally in Zone 1. Most no-
ticeably, the computer gets responses
easily confused. The operation man-
ual suggests using a noise-canceling
microphone to help with this prob-
lem, but it is still interesting to note
the strangeness of some confusions.
When you speak a word clearly, el
computer repeats the word back to
you as Sally is responding. This repe-
tition can alleviate some confusion
in her responses. As she speaks, cada
word is presented as a separate facial
Multimedia
101
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expresión, creating a video-collaged
oración. After running this aspect of
the program multiple times and
noticing there were several stored
oraciones, it became unclear to me
why the collage element was neces-
sary. Her responses could be more
fluid visually, though more memory
may need to be used to create a sys-
tem in which to do this.
Another feature of Zone 1 es el
ability to manually select keys to
change Sally’s expression. You are
also supposed to be able to type
words for her to speak as well, Alabama-
though I could not get this aspect of
the program to function. The expres-
sions were possible to obtain by se-
lecting letters on the keyboard.
Zone 2 allows you to hear from the
objects surrounding Sally on the set.
There is a radio, a small clear white
bubble, a larger bubble on a black
floor, a chair, and a shawl. By clicking
on these objects you can hear what
they have to say, and each object has
multiple responses, so you can click
on them several times to hear sev-
eral comments and commentaries
from them. Each object offers its
own social commentary on the Great
Depression and on consumerism.
This is the least interactive aspect of
the disc.
I found Zone 3 to be the most com-
pletely realized part of the project.
Utilizing mouse tracking and/or
voice recognition, you are able to di-
rect the movement of the character
Sally dancing with a bubble as well as
use your voice to have her sing along.
It is possible to change the sample re-
sponse rate. The video is quite
liso, and very predictable, allow-
ing you to move the mouse as though
you were dancing with her. The mu-
sic that accompanies the videos is
also linked to the mouse, y eso
speeds up or slows down with the
movement of the mouse.
On the main menu there is another
option, which is to play “Sally Sings.”
You have the option to get her to sing
three pre-programmed songs: Daisy
Campana, You Made Me Love You, y
Out Of No Where. You also have the
option to have her sing notes you
play by clicking on a keyboard on the
screen or through your computer
keyboard. This portion contains the
same collage style found in Zone 1 de
the primary program on the disc.
On the whole, the product would
be useful to instructors wanting to
give a brief introduction to some of
the capabilities of a combined
Max/MSP and Jitter environment.
When combined with the informa-
tion on the Coming Attraction trail-
ers for Artificial Changelings and
Spectropia, it would allow an instruc-
tor to show some of the possibilities
within an interactive video installa-
tion and performance environment.
Desafortunadamente, the DVD does not de-
liver as much of interest to the indi-
vidual user, as it seems to be a
demonstrative video rather than an
interactive environment that would
draw you back again and again. El
responses and interaction between
the participant and the characters as
presented in Sally can be almost ex-
hausted after an hour of pursuing the
possibilities. As an installation, este
can be very effective, but as an in-
home product, it is not very satisfy-
En g. The project does not reduce well
to a DVD-ROM, and is best suited for
a large installation space, where we
would be expected to interact with
the characters for only a brief mo-
ment of time.
102
Computer Music Journal
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