About This Issue

As sometimes happens, com-
pound theme announced on the cover
of this issue of Computer Music
Journal actually comprises two
unrelated topics. In the present case,
one involves technical research, 和
另一个, 音乐- 制作. “Pattern
discovery” relates in a loose sense to
all this issue’s technical articles, 和
in a strict sense to the one titled
“Feature Set Patterns in Music.” The
other topic, “the laptop orchestra,”
is the subject of the opening pair of
文章, from Princeton University.
The Princeton Laptop Orchestra
(PLOrk) represents a fairly new type
of performing ensemble. Directed
sometimes by a conductor, 它是 15
members operate networked laptop
电脑, either with the usual
keyboard- 和- mouse interface or via
other controllers and sensors. 每一个
these computers is connected to its
own audio equipment rack and its
own onstage loudspeaker enclosure,
housing six individually addressable
speakers that emit sound in six
different directions. The intent is to
imbue electroacoustic music with a
spatial and sonic presence analogous
to that of a conventional orchestra,
while exploring the musical opportu-
nities afforded by a relatively large
number of networked performers.
The ﬁ rst article documents 18 件
that composers have conceived for
this ensemble. The compositions
embody various approaches to spa-
tialization, sound design, 控制,
networking, conducting, and game
玩. The second article explains how
the authors teach students concepts
and techniques for performing in
PLOrk and composing for it. 那里

are no technical prerequisites, 但
students learn a textual music-
programming language (ChucK) 作为
well as a graphical one (Max / MSP).
The authors describe their pedagogi-
cal approach as informal, improvisa-
的, and interdisciplinary; 学生
acquire technical and artistic knowl-
edge “along the way” toward the goal
of making compelling music together.
The next three articles in this issue

consist of revised and extended ver-
sions of papers ﬁ rst presented at the
International Workshop on Artiﬁ cial
Intelligence and Music (音乐- 人工智能
2007), held in Hyderabad, 印度, 在
conjunction with the 20th Interna-
tional Joint Conference on Artiﬁ cial
智力. We are indebted to the
organizers, especially Rafael Ramirez,
for providing us with the workshop
referees’ evaluations of many of the
original paper submissions and for
discussing with us the most highly
rated papers, from which Computer
Music Journal selected a subset. 我们的
thanks also go to the referees them-
自己, who kindly agreed to re-
evaluate the manuscripts after they
had been revised for the Journal.
(更普遍, anonymous peer
review serves as a sine qua non for
the Journal. The referees, 谁是
specially selected for each article on
the basis of their particular expertise,
receive no compensation or other
认出. We honor them all for
their dedication to the advancement
of the ﬁ eld.)

The ﬁ rst of the Music- 人工智能 2007
文章, “A Genetic Rule- Based
Model of Expressive Performance for
Jazz Saxophone,” employs techniques
from evolutionary computation, A

subﬁ eld of AI. Previous studies of
expressive performance have usually
been empirical, based on human-
created models of expression. 经过
对比, the present authors’ soft-
ware automatically constructs such
models—in this case, sets of “rules”
describing how jazz musicians inﬂ ect
timing and dynamics in melodies. 它
does so by applying an evolutionary
algorithm to a symbolic representa-
tion of a set of performances. (在这个
学习, a professional saxophonist
played four jazz standards, 每个在
eleven different tempi.) 作者
describe how they ﬁ rst extract
musical information from the audio
记录, using spectral analysis,
fundamental frequency estimation,
segmentation into notes, 信封
approximation, brightness measure-
蒙特, 等等. The note- 等级
measurements are supplemented by a
更高- level musical analysis that is
largely based on Eugene Narmour’s
implication / realization model of
melodic expectation. 最后, A
genetic sequential covering algo-
rithm operates on the training data
and learns new rules, each predicting
how a human saxophonist might
expressively deviate from the values
speciﬁ ed by the musical score. 这样的
rules could, 当然, be applied
when synthesizing music.

The next article, by Christopher
拉斐尔, tackles the problem of how
to separate a monaural audio record-
ing of a concerto into two tracks: 一
capturing the soloist, and the other,
the orchestra. Practical applications
include creating an accompaniment
track that a soloist can use for prac-
泰斯, à la Music Minus One. 这

Front cover. The Princeton Laptop
Orchestra in concert. (Photographer:
Lorene Lavora; image processing:
Computer Music Journal.)

Back cover. Two illustrations from

the article “Feature Set Patterns in
Music.”

About This Issue

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research assumes access to the
information contained in the corre-
sponding musical score. 机器-
learning techniques are employed to
train the system on preclassiﬁ ed
数据, where the classes are “soloist”
or “accompaniment.” The system
performs short- time Fourier trans-
形式 (STFTs) on the input audio.
Each point in the resulting time-
相对- frequency space is attributed
to either the soloist or the accompa-
niment, using knowledge of the
timings and pitches in the score.
The inverse STFT is then applied to
the appropriate subset of time-
frequency points to generate either
the “desoloed” audio or the solo
performance alone.

The Best Paper award of the
音乐- 人工智能 2007 workshop went to
Mathieu Bergeron and Darrell
Conklin for their paper “Representa-
tion and Discovery of Feature Set
Patterns in Music.” The authors
substantially revised that paper for
publication in this issue, expanding it
to include, 除其他事项外, A
description of a fast heuristic algo-
rithm. Pattern discovery in music
denotes the detection of repeated or
similar structures (such as melodic
图案), which among other uses
may inform music- theoretical

分析, 信息检索, 和
style emulation. Conventional
approaches to musical pattern
discovery constrain a pattern to a
sequence of values of a single musical
feature (such as pitch, duration, 或者
间隔) or of a ﬁ xed combination of
特征 (such as interval paired with
duration). But some undeniably
similar musical passages resist being
detected by these comparatively
simplistic techniques. 相比之下,
the present authors’ more ﬂ exible
approach can characterize some parts
of a pattern according to certain
features whereas other parts of the
same pattern are described by com-
pletely different features. Within a
pattern, not only the features but also
their number may vary. 此外,
the authors provide a way to explore
the search space in a general- 到-
speciﬁ c manner, ﬁ nding patterns that
are sufﬁ ciently distinctive (IE。, spe-
ciﬁ c) but not too infrequent. 这
authors illustrate their method using
melodies composed by the proliﬁ c
French songwriter Georges Brassens.
The Conklin and Bergeron article

can be considered an exemplar of
symbolic music information retrieval
(MIR), operating as it does on music
represented as a collection of notes.
The other main branch of MIR, 哪个

operates on audio, is exempliﬁ ed by
the ﬁ nal article in this issue, concern-
ing beat detection. (Unlike the pre-
ceding three articles, this one did not
stem from a Music- 人工智能 2007 paper.)
Jia Zhu and Ye Wang investigate
whether it is possible to extract the
tempo of a popular- music recording
in the MP3 audio format, 没有
ﬁ rst converting the data to decom-
pressed audio samples. Their motiva-
tion is to run the beat- detection
algorithm on mobile devices that
have limited processing power,
记忆, and battery life. 这
authors have implemented a system
comprising three different beat
detectors, of progressively greater
复杂, to adjust as needed to the
resource constraints. These three
respectively operate on the “com-
pressed domain,” which refers to the
demultiplexed MP3 bitstream prior
to the actual decoding; the “trans-
form domain,” which refers to data at
an intermediate stage in the MP3
decoder; and the “PCM domain,”
which refers to the fully decoded
audio samples. As might be expected,
the ﬁ rst of these detectors is very
快速地, and the last is the most accurate.
The authors ﬁ nd that the transform-
domain detector provides a good
贸易- off for mobile devices.

电脑音乐杂志

体积 32, 数字 1

春天 2008

Contents

About This Issue

Announcements

消息

Composition and Pedagogy

Composing for Laptop Orchestra Scott Smallwood, Dan Trueman,
Perry R. 厨师, and Ge Wang

The Laptop Orchestra as Classroom Ge Wang, Dan Trueman,
Scott Smallwood, and Perry R. 厨师

Modeling Expressive Performance

A Genetic Rule- Based Model of Expressive Performance for Jazz
Saxophone Rafael Ramirez, Amaury Hazan, Esteban Maestre,
and Xavier Serra

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Audio Signal Processing

A Classiﬁ er- Based Approach to Score- Guided Source Separation of
Musical Audio Christopher Raphael

Music Information Retrieval

Feature Set Patterns in Music Darrell Conklin and
Mathieu Bergeron

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Complexity- Scalable Beat Detection with MP3 Audio Bitstreams
Jia Zhu and Ye Wang

Events

Karlheinz Stockhausen: Cosmic Pulses Nick Collins

International Computer Music Conference 2007: Live Electronics
Arne Eigenfeldt

Publications

Institut National de l’Audiovisuel: Portraits Polychromes: Max
Mathews James Harley

Recordings

Neil Rolnick: Shadow Quartet Jeffrey Treviño

Pimmon: Electronic Tax Return
Pimmon: Secret Sleeping Birds Andrew Fletcher

Products of Interest

Instructions to Contributors

101

113

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Announcements

Journées d’Informatique
Musicale 2008

这 2008 Journées d’Informatique
Musicale (Computer Music Days)
will take place in Albi, 法国, 27–29
行进 2008. The themes for the
meeting are Interfaces for the Cre-
ation of Sound and Music, and Spaces
and Sound Spatialization. Topic areas
include tools for musical analysis,
formalization and representation of
musical structures, automatic com-
位置, modeling and simulation of
sound and perception, and research
center reports.

Web: gmea.net / jim08 / index.php /

SEAMUS at Salt Lake

这 2008 National Conference of the
Society for Electroacoustic Music in
美国 (SEAMUS) will be
held in Salt Lake City 3–5 April 2008.
This year’s conference is dedicated to
Vladimir Ussachevsky, who was in
residence at the University of Utah
从 1970 到 1990, and will highlight
his piece Colloquy for orchestra and
tape, premiered by the Utah Sym-
phony in 1976.

Web: seamus2008.music.utah.edu

Electroacoustic Music Studies
Network in Paris

The annual Electroacoustic Music
学习 (EMS) Network International
Conference of 2008 will take place in
Paris 3–6 June 2008. The theme for
the event is “Musique concrète—60
years later” with reference to the
pioneering work of Pierre Schaeffer
和别的, many of whom worked in
the same city where the conference
will take place. The focus will be on
the relationship between sound and

音乐, so topics will include strate-
gies for creating new sounds, 这
inﬂ uence of tools on music, 如何
sounds contribute to building musi-
cal structures, and the recurring EMS
theme of terminology in the ﬁ eld.
The increasingly active EMS Asian
网络 (EMSAN) track will also be
featured throughout the conference
in presentations and performance.
Prior to the meeting, there will be a
special study session on the socio-
political implications of electro-
acoustic music, Composing Today.
Web: www.ems- network.org

Electroacoustic Music in Santa Fe

The Contemporary Music Program of
the College of Santa Fe has scheduled
the twelfth annual International
Festival of Electroacoustic Music in
圣达菲, New Mexico, 3–6 March
2008. This year featured guests are to
include Gordon Mumma as the
Composer in Residence, Ulrike Brand
as a performer, and Olivia Block as
both a composer and performer.
Web: sﬁ fem.csf.edu / SFIFEM_

about.html

Sonic Interaction Design

A workshop entitled Sonic Interac-
tion Design: Sound, Interaction, 和
Experience will be held in Florence,
意大利, 在 6 四月 2008 during the
annual Computer / Human Interac-
的 (CHI) conference. 的目标
workshop is to “gather research and
creation efforts in sound technology,
设计, 艺术, 音乐, and psychology
into a coherent body of knowledge
capable of assisting the design of the
sonic appearance of future environ-
评论, events and artifacts.” The
workshop is organized as part of a
European Cooperation in the ﬁ eld of
Scientiﬁ c and Technical Research
(COST) action which created four
Sound Interaction Design working
团体: (1) Perceptual, cognitive, 和
emotional studies of sonic interac-
系统蒸发散, (2) Product sound design, (3)
Interactive art and music, 和 (4)
Soniﬁ cation.

Web: www.cost- sid.org / wiki /

CHIworkshop

Algorithmic Music at UCSC

The sixth Workshop in Algorithmic
Computer Music (WACM) is sched-
uled for 3–6 March 2008 at the Uni-
versity of California, Santa Cruz.
Participants will work with an
instruction team lead by David Cope,
and study basic techniques of algo-
rithmic composition and analysis
using the LISP programming lan-
规格. Software will be developed for
a Markov- based rules program, A
遗传算法, and a project
modeled on the Experiments in
Musical Intelligence program.

Web: sﬁ fem.csf.edu /

SFIFEM_about.html

Interactive Music in Bergen

The second Bergen Interactive Music
会议 (BIMUC 08) is scheduled
to take place 28–30 April 2008 在
卑尔根, Norway. The focus is on
challenges for music education in
学校, 大学, 社区,
and art institutions in bringing new
approaches to music in learning and
creative and artistic development to
年轻人.

Web: www.bimuc.no

Announcements

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消息

Brazil Symposium

The eleventh Brazilian Symposium
on Computer Music was convened in
São Paulo 1–3 September 2007. 这
Brazilian Symposia are organized by
the Computer Music branch of the
Brazilian Computing Society, 并且是
hosted by the University of São
保罗. The Symposium consists of
technical and music paper sessions,
discussion panels, and concerts.
Roger Dannenberg delivered the
keynote, and Mikhail Malt delivered
an invited address for the Symposium.
Web: gsd.ime.usp.br / sbcm / 2007 /

english / index.html

Musical Acoustics in Barcelona

这 2007 International Symposium
on Musical Acoustics took place in
Barcelona 9–12 September 2007.
Single- track sessions focused on
speciﬁ c classes of instruments, 这
singing voice, electronic musical
仪器, and perception, 和一个
afternoon was entirely devoted to
physical modeling. The conference
coincided with the opening of the
new Barcelona Museum of Music.

Web: isma2007bcn.org

Musical Semantics in Genova

The second international conference
on Semantics and Digital Media
技术 (SAMT) was held in
Genova, 意大利, 在 5 十二月 2007.
The workshop brings together
researchers interested in understand-
ing the mapping between low- 等级
audio features and contextual inter-
pretations of music. The focus was
on models of musical perception,
methods for the extraction, 分析,

and representation of linguistic de-
scriptions of music. On the other side
of the semantic gap, 低的- level audio
features and analysis of music
structure were also discussed.

Web: irgroup.cs.uni- magdeburg.de /

lsas2007

Ars Electronica 2007: Goodbye
Privacy

这 2007 Ars Electronica festival,
Goodbye Privacy, took place during
September in Linz, 奥地利. Ars
Electronica attracted over 30,000
visitors this year for a rich variety of
seminars and presentations in
addition to media art exhibitions in
the form of performances, installa-
系统蒸发散, and networked and participa-
tory events. Computational and
innovative means of generating and
using sound play a signiﬁ cant role in
many of the media works presented
at Ars Electronica (见图 1).

Web: www.aec.at

Music Communication Science

The inaugural International Con-
ference on Music Communication
科学 (ICOMCS) was held 5–7
十二月 2007 in Sydney, Austra-
利亚. The objective of ICOMCS is to
develop an interdisciplinary under-
standing or application of music cog-
尼尼申, 洞察力, and performance.
A broad range of session topics was
covered including the psychology
of performance, phrase structure
reconstruction from performance
数据, data soniﬁ cation, bio- signal
interfaces, measuring audience reac-
系统蒸发散, and rhythmic pattern learning.
Web: marcs.uws.edu.au / links /

ICoMusic / program.html

Music and the Brain

The Music, Brain, 和认知
Workshop took place 7–8 December
2007 in Whistler, 加拿大, as part of
the Neural and Information Pro-
cessing Systems Conference (NIPS).
The conference recognizes music as
“organized sound” and spans topics
from signal processing and musical
structure to the cognition of music
and sound. The conference supports
interaction between the machine
learning and the neuroscience / 脑
imaging communities with the goal
of fostering breakthroughs in various
areas of music technology such as
music information retrieval, 表达-
sive music synthesis, 交互的
music making, and sound design.

Web: homepage.mac.com / davidrh /

MBCworkshop07 / Workshop.html

Score Space in Norway

Yolande Harris hosted a workshop on
Score Spaces 19–24 November 2007
in Maastricht. Score Space explores a
spatial approach to musical composi-
tion in an electronically extended
环境. It focuses investigation
and experimentation on issues such
as how an expanded notion of musi-
cal score can support new practices of
electronic instrumental music and
media art, and how the score can be
used to incorporate motion, 地点,
and environmental data into interac-
tion with sound. Guest speakers for
the workshop included Jacob Kirke-
gaard and Hilary Jeffery.

Web: introinsitu.nl / 作坊

电脑音乐杂志

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数字 1. Siren, Ray Lee at
Ars Electronica. Siren is a
whirling, spinning spec-
tacle of mechanical
movement, electronic
声音, and light. 来源:
rubra.

The Brussels- 巴黎- 日内瓦
Spectrum

The second edition of the Interna-
tional Edition of Spectral Music,
Spectrum XXI (二), took place 29 Oc-
tober–7 November 2007 across
venues in Brussels, 巴黎, and Geneva.
Art Directors Ancu Dumitrescu and
Ana Maria Avram organized a pro-
gram that included concerts of
acousmatic music, live electronic
music and diffusion, and mixed
performances with traditional in-
struments, as well as conference
participation from musicologists.
Web: festivalspectrum21.tripod

.com / spectrum.pdf

Mass Digitization

The British Library Center for Con-
servation hosted the British Library
Sound Archive conference, ”Unlock-
ing Audio: Sharing Experience of

Forget for Orages d’aciers. Fernando
Mota’s piece, Manchetes, was recog-
nized as the Best Portuguese Piece.
The international jurors for the com-
petition were Francis Dhomont,
Sabine Schäfer, Joachim Krebs, 和
Miguel Azguime.

Web: www.misomusic.com

Digital Arts Awards 2007

The Keio Research Institute in Japan
presented the 2007 Digital Arts
Awards for students working in the
areas of Digital Cinema, Interactive
媒体, and Digital Music. 在里面
Music category, the winner was the
Gruppo Labun (Vincenzo D’Angelo,
Stefano Fumagalli, and Alessandro
Perini) from the Conservatorio di
Musica di Como in Italy for their
electroacoustic performance piece,
D- Homo. Honorable Mentions were
awarded to Soh Igarashi (Keio Univer-
城市, 日本) for Convergence, 并
Juraj Kojs (弗吉尼亚大学,
美国) for In Secret. The Digital Music
jury was comprised of Toru Iwatake
(Keio University), Masahiro Miwa
(Institute of Advanced Media Arts
and Sciences), and Jon Appleton
(Dartmouth University, 美国).

Web: daa.sfc.keio.ac.jp / 2007 / 在 /

index.html

Mass Digitisation” in London 26–27
十月 2007. The conference ex-
plored the planning and strategies
required for the successful execution
of large- scale audio digitization proj-
ects and the technical and practical
issues involved. The presentations
are aimed at mass digitization practi-
tioners for sharing of best practice
and considering emerging standards.
Web: www.bl.uk / collections /
声音- archive / unlockingaudio.html

Música Viva 2007 Competition
Winners

Miso Music Portugal has announced
the winner of the Eighth Electro-
acoustic Composition Competition,
Musica Viva 2007. The two top prizes
went to Pei- Yu Shi for Fall, aus der
Zeit . . . , and Arturo Fuentes for
Fosil KV. Honorable mentions were
awarded to Nicolas Bernier for
Liaisons Mécaniques, and Georges

European New Music Promoters
Awards

The European Conference of Promot-
ers of New Music (ECPNM) 有
announced winners of its competi-
tion for the composition and inter-
pretation of live- electronic music
项目. The award was granted to
the German duo Con:Fusion (Sascha
and Marcia Lemke) for #Un4scene#.

消息

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Organizing partners of the award who
will be programming the prize-
winning piece during the coming
year include the Estonian Academy
of Music in Tallinn, 爱沙尼亚; 这
European Live Electronic Center in
Lüneburg and Hamburg, 德国;
the Computer and Electronic Music
(CEM) Studio in Rotterdam, 这
荷兰; Aspekte in Salzburg,
奥地利; the Centri Musicali Attrez-
zati (CEMAT) in Rome, 意大利;
Portuguese Music Information
Centre (Miso Music) in Rebelva,

Portugal; and Gaudeamus in Amster-
坝, 荷兰人.

Web: www.ecpnm.com / bull /

ecpnmbull.htm

New Research Center in
曼彻斯特

The University of Manchester,
England, has recently launched the
NOVARS Research Center for Electro-
acoustic Composition, Performance,

and Sound Art. NOVARS is named
in honor of the seminal work of the
same name by composer Francis
Dhomont. The new £2.2 million
facility includes four new experimen-
tal music studios, a cluster room, 和
a concert hall constructed with state-
的- 这- art acoustic design and build-
ing materials. The Mantis Festival
was the occasion for the launch
which included a three- day series of
events and music.

Web: www.novars.manchester

.ac.uk

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