Sound Anthology: Program Notes - IA de Investigación especializada en el MIT

Antología sonora: Notas del programa

. . . Time Will Tell . . . : Folkmar
Hein, Curator

About the Music

This selection of music compiled for
the readers of the current issue of
Computer Music Journal is conceived
as an imaginary concert. With a
duration of just under 80 minutos, el
sonic proceedings, including breaks,
reach a length typical for a DVD, a
CD, or a concert with electroacoustic
music—not too short, not too long.
The individual works, with lengths
falling between 4 y 15 minutos, son
also in the range of typical durations
for electroacoustic music.

“. . .Time will tell. . ."? Is this the
“typical” example of music to which
we have become accustomed? Hace
it meet our expectations? Surely not!
Neither the familiar nor the expected
are what are important, what matters
is the new and unknown—that which
is not easily explained or demystified.
We are looking neither for witty and
poetic explanations nor for scholarly
elucidation and academic sagacity.
We know full well that behind ev-
ery work a tremendous amount of
technical and scientific skill is in-
volved, and that is something worth
recognizing. Sin embargo, this An-
thology is not based on a technical or
scientific theme, but only on an au-
ditory fiction: an acousmatic concert
from—reflecting the international
orientation of CMJ—an international
collection of composers.

The term acousmatic, about which

there has been some controversy,
was introduced by the Groupe de
recherche musicales (GRM), specifi-
cally by Franc¸ ois Bayle, en 1974. El
idea was that concertgoers should
focus solely on the acoustic aspects of
the performance and not be distracted
by optical influences or anything
else. This can be a challenge—and a
difficult one at that—for 21st-century

doi:10.1162/COMJ e 00492

concertgoers, with the pervasive fix-
ation on touchscreens as an optical
distraction. This “concert” has the
additional intention of showing that
acousmatic works are being created
outside of GRM’s aesthetic world—
En particular, in Swedish, British,
and Japanese traditions—which are
deliberately brought to the fore in
this collection. Me parece que
acousmatic music coming from Swe-
den has not gained the recognition
it deserves. (I am a great admirer of
the Elektronmusikstudio [EMS] en
Stockholm, which has always been
a model in terms of internationality,
infrastructure, freedom, hospitality,
and equipment, without succumbing
to any temptation of technology for
the sake of technology.)

There is, de paso, a common
thread through the concert program:
Each piece has an individual feeling
of tempo, but in a mysterious way a
similarly calm pace seems to domi-
nate, interspersed with highly emo-
tional moments of density, dinámica,
spatiality, and exciting transforma-
tions of both concrete and synthetic
sounds.

There is one unusual aspect to this
imaginary concert: the concertgoers—
all CMJ readers who access the
audio data—can shape an individual
program order for themselves, y
they can freely choose between the
stereo and multichannel versions of
the works!

Some technical points are worth

noting:

1. The eight pieces in the

Anthology are in the conven-
tional formats (stereophonic,
quadraphonic, octophonic).
None uses a surround-sound
format, owing to the prob-
lematic nature of the center
channel.

2. Each multichannel work is
also available in a stereo
versión.

3. Channel assignments are

either evident from the file
names of the channels, or they

are described in the program
notas (specifically the works
by Horacio Vaggione and
Trevor Wishart).

4. All sound files are at a 48-

kHz sample rate with 24-bit
resolution. The multichannel
versions consist of multiple
single-track files or, en el
case of Vaggione, tracks that
are paired as stereo files.

In addition to the information
given in the following notes, further
documentation is available online at
www.emdoku.de/en/search?query
=CMJ%20Vol%2042%202018&
sources=emdoku.

Time Will Tell (2013)—Manuella
Blackburn

Tiny, microscale ticks, tocks, clanks,
bumps, and rings combine together
in new shapes and forms. Miniature
sounds from time-keeping devices,
old and new, were sourced and iso-
lated for their brevity and “barely
there” quality. Reassembling regular
clock rhythms from an abundance
of single clock ticks and strikes is a
fundamental composition method-
ology in this work, junto con el
simulation or illusion of internal
clock mechanics churning, rotating,
and sometimes malfunctioning. El
idea of clocks being wound and reset
features as a structural device. Clock
gongs, bells, and chimes also provide
pitch content and harmonic moments
throughout the work. This composi-
tion builds upon the microstructures
constructed in “Switched On” (2011),
which deals with the sounds from
small switches, buttons, and di-
als used for powering up electrical
devices.

“Time Will Tell” was realized at
the Goodman Studio of the Experi-
mental Media and Performing Arts
Center (EMPAC) at Rensselaer Poly-
technic Institute (RPI) in Troy, Nuevo
york, and at the Liverpool Hope Uni-
versity in the United Kingdom. El

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Cifra 1. Manuella Blackburn.

Cifra 2. Shintaro Imai.

Florida), and Kunitachi College of
Music (Tokio). Her music has been
performed across Europe, Asia, y
the Americas.

Blackburn received the Grand
Prize in the Digital Art Awards at
Fujisawa, Japón, en 2007, así como
numerous other awards and prizes
for her acousmatic music. Ella es
currently senior lecturer in music
at Liverpool Hope University in the
Reino Unido.

Resonant Quarks and Figure in
Movement—Shintaro Imai

Both “Figure in Movement” and
“Resonant Quarks” are works in
which the composer creates musical
variation with very brief recordings
of natural sounds that are drastically
altered in time to emphasize their
microscopic movements. The sounds
are subjected to extreme stretching
and compression in time, también
as undergoing pitch shifts, density
variación, spatialization, and other
transformations—all using granular
sampling techniques governed by
probability and tendency-masking
algoritmos. The alterations always
keep a certain continuity, y ellos
are interpolated so that the materials
remain identifiably derived from the
same sound objects. So the sound
materials act like individual figures
in motion, rather than anonymous
units used in composition.

Resonant Quarks (1998)

“Resonant Quarks” is the first work
Imai created using the techniques
descrito. En este trabajo, four kinds
of sounds, all of only 1 second in
duración, were chosen as the main
material. All signal-processing and
control algorithms were programmed
in Max/FTS running on a NeXT

piece was commissioned by EMPAC.
Many thanks go to Harry Vannucci
from the Waterford Clock Company
in New York and to Sir George White,
keeper of the Clockmakers’ Museum
in London, for access to all the clocks
in the collection. The work was
premiered on 22 Noviembre 2013 en
RPI.

This recording was mastered by

Dominique Bassal in February to
Marzo 2017 in Montreal.

Track Duration: 8:24

Manuella Blackburn is a composer
of electroacoustic music specializing
in the creation of acousmatic music.
She also composes for instruments
and electronics, for improvising
laptop ensembles, and for dance. Ella
studied music at the University of
Manchester, followed by a Masters
in electroacoustic composition with
David Berezan. She became a member
of the Manchester Theatre in Sound
(MANTIS) en 2006 and completed a
PhD at the University of Manchester
with Ricardo Climent in 2010.

Blackburn has worked in residence
in the studios of Miso Music (Lisbon),
EMS (Stockholm), Atlantic Centre
for the Arts (New Smyrna Beach,

computer using the IRCAM Signal
Processing Workstation. The piece
was realized at the Sonology Depart-
ment of Kunitachi College of Music,
Tokyo in 1998.

Track Duration: 12:00

In “Figure in Movement” the
sound materials are all recorded flute,
performed by Sabine Vogel using
extended techniques. All the signal-
processing and control algorithms
were programmed in Cycling ’74
máx.. This piece was realized in
2005 at the Electronic Studio at the
Technical University Berlin (TUB) en
cooperation with Sabine Vogel.

Track Duration: 3:59

Born in 1974, Shintaro Imai stud-
ied at the Kunitachi College of Mu-
sic, Tokio, and at the Institut de
Recherche et de Coordination Acous-
tique/Musique (IRCAM), París. Él
received a grant from the Japanese
Agency for Cultural Affairs for the

Antología sonora: Notas del programa

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Cifra 3. Erik Mikael Karlsson.

period 2002–2003 and was guest
composer at the Center for Art and
Media (ZKM) in Karlsruhe, Alemania.
The following year he was a guest
of the Artists-in-Berlin program of
the German Academic Exchange
Servicio (DAAD), where he worked
as guest composer at the Electronic
Studio of the TUB. De 2008 a 2011
he directed music of the Bauhaus
Stage Projects in Dessau, and in 2012
served as tutor at the Darmstadt
Summer Courses for New Music. Él
is currently associate professor and
director of the Sonology Department
of Kunitachi College of Music.

Imai’s awards include, entre
many others, the Residence Prize at
the International Electroacoustic Mu-
sic Competition of Bourges and the
first prize as well as the Special Prize
for Young Composers at the Musica
Nova competition in Prague. En 2016
he was composer-in-residence at the
SinusTon festival in Magdeburg.

Interiors and Interplays
(1994)—Erik Mikael Karlsson

The composer writes that it is not
possible to describe a piece with a
few words, particularly when the
piece has many ideas as approaches
rather than just one. composicional
ideas may run in parallel, some arise
fragmentarily, some are tied together,
and still others exist independently
of the rest. Dialogues and contrasts,
contacts and disclaimings embrace
each other between the real and the
imaginary, where gestures, poetry,
timbre, and acoustics create an un-
speakable longing for beauty. El
attentive listener can also hear a few
bars from the tune by Rodgers and
Hart “The Lady Is a Tramp.”

“Interiors and Interplays” was
commissioned by Sweden’s national
public radio, Sveriges Radio, para el

also works at Sveriges Radio in
Malm ¨o as head of programs. His mu-
sic has been described as restricted
and elegant, like music emanating
from an inner landscape or an endless,
concentrated world: deep, dark, y
serene. His music and sound art are
replete with structures, reflections,
and phenomena of pure motion.

En 1985 Karlsson attended EMS
to study composition and electro-
acoustic music, and he quickly
earned international recognition
with a series of prize-winning works.
In the 1990s he was widely engaged
as a composer by, among others,
Groupe de Musique Exp ´erimentale
de Bourges, the Danish Institute
for Electroacoustic Music in ˚Arhus,
Westdeutscher Rundfunk in Cologne,
La Muse en Circuit, INA-GRM in
París, and Danish Radio in Copen-
hagen. He was a guest of the DAAD’s
Artists-in-Berlin program 1992–1993,
during which he worked at the Elec-
tronic Studio at the TUB.

Karlsson has received numer-
ous commissions, from the French
gobierno (Commande de l’Etat
Franc¸ aise), the Westdeutscher Rund-
funk in Cologne, and many others.
His music has been performed around
el mundo, and he has lectured regu-
larly on his music at universities and
conservatories in Europe and North
America. Desde 2001 he has worked at
Sveriges Radio as presenter, producer,
and project manager for classical and
contemporary music. En 2015 he took
on the role of head of programs for
the departments of Culture, Drama,
Music, and News at Sveriges Radio in
Malm ¨o.

Dark Matter (2018)— ˚Ake
Parmerud

“Dark Matter” is not about the mys-
tical astronomic entity needed to

occasion of the 30th anniversary
of the Institute for Electroacoustic
Music (EMS) in Stockholm in 1994.
The piece was premiered in a live
broadcast from the Sveriges Radio’s
concert hall, the Berwaldhall, en
Septiembre 1994.

“Interiors and Interplays” was
produced at EMS and in Sveriges
Radio’s Broadcasting House studios
between February and June 1994. El
sounds used consist of different kinds
of concr `ete material, processed voices
of a soprano and a tenor from the
Swedish Radio Choir, and synthetic
material generated by the Chant soft-
mercancía, with some additional material
collected during the composer’s stay
in Berlin from 1992 a 1993. A vast
number of sounds were processed
with software by Paul Pignon im-
plementing time-pitch mapping, el
giant Fourier transform, and running
convolution.

Track Duration: 15:06

Erik Mikael Karlsson, born 1967
in Nyn ¨ashamn, Suecia, is a Swedish
composer, primarily of electro-
acoustic music and sound art. Él

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Cifra 4. ˚Ake Parmerud.

make the equations describing the
behavior of the universe work. En-
visible, and until now impossible
to detect, it might just be a phan-
tom of science. En cambio, the piece is
about sound “matter” that we nor-
mally cannot hear but that surrounds
us wherever there are any kind of
electric devices. Microwave ovens,
cellphones, computers, light bulbs,
and the like all emit electromagnetic
fields of energy. These fields can be
measured, recorded and made audible
using special sensing devices. El
majority of the sounds in the piece
are recordings of these “invisible”
sounds. As there may be dark matter
alongside the matter that we can see
and measure, so there are also sounds
of electric phenomena that we can
normally hear in the piece. Just as the
dark matter of the universe is far more
common than visible matter, cómo-
alguna vez, so the inaudible “dark” matter
of electromagnetic fields makes up
alguno 90 percent of the piece. “Dark
Matter” lets the listener walk through
these fields and hear them as they
would sound if they were not dark.

“Dark Matter” was commissioned
by the Dias de Musica Electroacustica
in Lisbon.

Track Duration: 9:24

˚Ake Parmerud has engaged in a
professional career in contemporary
music and media art since the late
1970s. Although he originally trained
as a photographer (1972–1974), él
went on to study music at univer-
sity and subsequently the Goteborg
Conservatory of Music. Además de
his electroacoustic and instrumental
música, his work includes composi-
tions covering a broad cross section
of modern experimental music in the
fields of dance, película, interactive art,
multimedia, theatre, and video.

Parmerud’s work first gained in-
ternational attention when his piece

Parmerud’s most recent stage
trabajar, Metamorphos, was developed
together with Canadian dance chore-
ographer Mireille Leblanc, who also
choreographed the interactive sound-
and-video installation Lost Angel
and the dance performance The Sev-
enth Sense. He recently formed the
company AudioTechture with Olle
Niklasson, a company that specializes
in acoustic interior design for diverse
environments from private houses
to public spaces. AudioTechture re-
ceived the Red Dot design award in
2015.

Arches (2013)—Horacio Vaggione

Horacio Vaggione describes his
electroacoustic music compositions
as being made of myriads of sounds
of diverse sizes, covering a variety of
temporal scales. These sounds circu-
late and interact within a network
containing diverse kinds of represen-
tations encapsulated as digital ob-
jects, or codes. Because of this, allá
is an interplay of correspondences
and recollections, with mirrors that
closely or distantly reflect and may
be more-or-less linear or distorting.
The network itself is defined and
redefined constantly throughout the
compositional process. Many of the
composed sounds are essentially
dependent on conditions and opera-
tions performed at microscopic time
escamas, belonging to the domain of
“microtime.” But working in the
microtime domain does not mean
opting solely for a rough, bottom–up
acercarse: The opposite strategy is
also constantly present, regardless of
any linear ordering, conforming to
diverse morphological perspectives
and contexts. So the musical work is
the result of many operations of frag-
mentation and agglutination, realized
at many different time scales.

Proximities was awarded the first
prize at the 1978 Bourges Interna-
tional Electroacoustic Music Festival.
Since then he has received 17 enterrar-
national prizes and 3 major Swedish
prizes. On two occasions he has also
received the Swedish “Grammy”
award for Best Classical Album of
the Year, and his music has repre-
sented Sveriges Radio twice at Prix
Italia. He is regularly commissioned
to compose works by international
institutions, and his works have been
presented worldwide. En 1997 su
composition Grains of Voices was
performed at the United Nations in
New York on United Nations Day.
His music has been released on nu-
merous albums and compilations, y
en 1998 he became a member of The
Swedish Royal Academy of Music.

The last years have seen Parmerud

working as a sound and software
designer for interactive audiovisual
installations. His installations The
Fire Inside, The Living Room, y
Lost Angel have been shown in
cities from Berlin and Reykjavik to
Ciudad de México. He has also designed
concerts and been artistic director for
large indoor and outdoor audiovisual
events.

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Cifra 5. Horacio Vaggione.

He also studied at the University of
París, where he received a doctorate
in musicology in 1982.

De 1969 a 1973 Vaggione lived
in Madrid, where he was a member
of the live-electronics group ALEA
and cofounded, with Luis de Pablo, un
electronic studio and the project Mu-
sic and Computer at the University of
Madrid. En 1978 he moved to France
and began work with the Groupe
de Musique ´Electroacoustique de
Bourges (GMEB); at the Institut
National Audiovisuel, Groupe de
Recherches Musicales (INA-GRM);
and at IRCAM. De 1987 a 1988
he was a guest of the DAAD Artists-
in-Berlin program and worked in the
Electronic Studio at the TUB.

Desde 1989 he worked as professor

of music at the University of Paris
VIII and as director of the Centre de
Recherche Informatique et Cr ´eation
Musicale. Desde 2012 he continues to
serve at that university as emeritus
professor.

Memories of Madrid (2005) y
Dithyramb-Kepler 63c
(2014)—Trevor Wishart

“Memories of Madrid” was part of a
larger project, Itinerarios del Sonidos,
staged in 2005, which aimed to install
audio works in bus shelters around
the Madrid city center. Wishart trav-
eled to Madrid in May of that year
to collect audio recordings of the
city environment and peoples’ voices
in the streets. Recordings included
street vendors of various kinds and
the rattling of buses as they proceeded
around the city. The materials were
variously abstracted and transformed,
using the software Composer’s Desk-
top Project (CDP). One particular pro-
cess developed for this piece was the
rhythmization of vocal material over
espacio, using two identical streams

on left and right channels, seguido
by randomly deleting units either on
la izquierda, the right, or both channels,
thereby producing an unpredictable,
spatialized mix.

The selected bus shelters had an
audio output socket installed, de modo que
travelers with headphones could plug
them into the socket and hear what
was being played. On the positive
lado, this meant that travelers who
did not want to hear the sounds did
not have it imposed on them from
an installed loudspeaker system. El
disadvantage was that headset users
had to be enticed out of their own
sonic universe to listen to something
diferente.

Together with Luc Ferrari, Wishart
selected one of the quieter of the bus
stops to present the work, since many
were on routes with heavy traffic.

Additional Notes from a Letter,
Junio 2018

“Memories of Madrid” was made
entirely in the Sound Loom envi-
ambiente, an interface to CDP. Este
included the final mixing. I say this
because lots of people ask me about
“postproduction.” There is no post-
producción. Pieces are constructed
in a series of mixing stages, going
from the smallest time scale (haciendo
complex sound events from sim-
pler ones), through gestures (mixes
of these sound events), to phrases
(mixes of gestures), to sections (mixes
of phrases), to the whole piece (a mix
of sections).

At all stages the outputs may
be processed, using programs from
CDP, before being reused. Mayoría
importantly, it is possible to revisit
the material (using Sound Loom’s
History function) and re-create it with
altered time proportions, whenever
this proves necessary for the overall
formal balance of the piece.

In “Arches,” the materials from

which the piece was built were
picked up from a collection of sounds
recorded by Folkmar Hein using a va-
riety of different objects found in his
home in Berlin. Extensive window-
En g, both temporal and spectral, era
performed on the sounds, resulting
in a palette of fleeting figures that
were later arranged into a multitrack
composition.

The piece, commissioned by Folk-

mar Hein and dedicated to him on
the occasion of his 70th birthday,
was composed in 2013 at the Brussels
Musiques et Recherches Studio in
Ohain, Bélgica.

Track Duration: 10:17

Horacio Vaggione, born 1943 en
C ´ordoba, Argentina, is a composer
of instrumental and electroacoustic
music who specializes in granular
synthesis, digital micromontage, y
multiscale composition, y cuyo
pieces often are scored for live per-
formers and computer-generated tape
or for live electronics. He studied
composition at the National Univer-
sity in C ´ordoba and the University
of Illinois, where he first gained
exposure and access to computers.

100

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Cifra 6. Possible loudspeaker
conﬁgurations for Trevor Wishart’s
“Dithyramb-Kepler 63c.”

Cifra 7. Trevor Wishart.

Processes involving sonic trans-

formation of materials are often
sequentially overlaid. Eso es, given a
sound “a”

a ……………………….. a
Process 1 (gradually change a to state b,
somewhere after the start of a)
a..a –>> b ………………. b
Process 2 (gradually change the b-end of
the original sound to c)
a..a∼to∼b..b—->>c………..C
Process 3 (gradually change the c-end of
original sound to d)
a..a∼to∼b..b∼∼to∼c..c–>> d..d
etc..

Finalmente, phrases and sections are
usually constructed by weaving to-
gether two or three evolving streams
of sound, each with its own sonic
and spatial characteristics, and these
streams may interact—events in one
stream appear to trigger events or
shifts in another stream.

“Dithyramb-Kepler 63c” is one
of three pieces forming the suite
The Secret Resonance of Things,
which celebrates, in musical form,
our scientific understanding of the
world. The musical material of each
movement is derived from scientific
data or physical models of the world,
but each is approached in a different
way. The piece is the fruit of a
research project at the University of
Oxford, funded by the Leverhulme
Confianza.

Kepler 63c is one of a recently
discovered class of earthlike planets.
If we were to make landfall on such
a planet, we know that the laws of
physics would be the same and, if we
could survive there without extensive
technological support, the properties
of the atmosphere would have to be
similar to those on Earth. So music
that we can hear and appreciate might
well exist on this distant world—but
we have no way to predict details
of the technical culture or the aes-
thetic world in which it would have
emerged. “Dithyramb-Kepler 62e”

each single file going to a different
output channel, thereby forming the
complete eight-channel output.

1. Loudspeakers should form
an octagon surrounding
the audience (this may be
stretched longer in the front–
back direction, if necessary).

2. The array of loudspeak-
ers may have either one
loudspeaker at front center
(double-diamond format) o
two loudspeakers at the front
(octagonal format).

3. Loudspeakers are numbered
clockwise, with loudspeaker
1 being at front center (como
in Figure 6a) or front left
(Figure 6b).

4. Channel 1 goes to loud-
speaker 1, Channel 2 a
loudspeaker 2, etcétera.

Born in 1946, Trevor Wishart
is a composer and performer from
the north of England specializing
in sound metamorphosis and in the
construction of software to make it
posible (Sound Loom, Composer’s
Desktop Project). He has lived and
worked as composer-in-residence
in Australia, Canada, Alemania,
Holanda, Suecia, and the USA.

Wishart creates music with his
own voice, for professional groups, o
in imaginary worlds conjured up in

attempts to conjure such an alien
music using imaginary, yet physically
posible, brass and percussion instru-
ments and imaginative extensions of
these instruments.

The instruments were created us-
ing physical-modeling software devel-
oped by the Next Generation Sound
Synthesis (NESS) research project at
the University of Edinburgh, funded
by the European Research Council,
and extended using processes in CDP.
This is an eight-channel piece,
supplied as eight individual, mono-
phonic sound files. Import these files
to a multichannel playback platform
such as ProTools or Audacity, con

Antología sonora: Notas del programa

101

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Cifra 8. Folkmar Hein.

the studio. His aesthetic and technical
ideas are described in the books On
Sonic Art, Audible Design, and Sound
Composition, and he is a principal
author of the CDP sound-processing
software. His most well-known works
include Vox Cycle, Red Bird, Tongues
of Fire, Two Women, and Globalalia,
and pieces have been commissioned
by the Paris Biennale, the BBC Proms,
and many other organizations. En
2008 he was awarded the Giga-Herz
Grand Prize for Life Achievement.
De 2006 a 2010 he was composer-
in-residence in the northeast of
Inglaterra, based at Durham University,
during which time he created the
sound-surround opera Encounters
in the Republic of Heaven. During
2011, while artist-in-residence at the
Universidad de Oxford, he began work
on the project The Secret Resonance
of Things, transforming astronomical
and mathematical data into musical
material. He has also been involved
in community, environmental, y
educational projects, and his Sounds

Fun books of musical games was has
been published both in English and in
Japanese.

About the Curator

Folkmar Hein was born in 1944
and grew up in Westphalia in the
northwest of Germany. He studied
electrical engineering at the TUB,

graduating with a major in technical
acoustics. He also received a Tonmeis-
ter diploma from the Hochschule f ¨ur
Musik Berlin with a major in cello.
Starting in 1974 he worked as a re-
search assistant at the TUB, dónde
he was director of the university’s
Electronic Studio. At the time of
this writing, he has realized 120
electroacoustic works for numerous
composers. En 1982, working with
the DAAD Artists-in-Berlin program,
he initiated the festival Inventionen,
with a program emphasizing electro-
acoustic music and sonic art. Él es
an active promoter of projects and
public presentations both in Berlin
and throughout Europe. De 1991
a 1998 he was chairman of the
German Society for Electroacoustic
Music (DEGEM). In March 2009 él
retired from the TUB, and in the
summer of 2010 he was awarded the
“Prize of Honor” for his life’s work by
the Deutscher Klangkunstpreis and
was named an honorary member of
DEGEM.