Journal•ISSN: 0148-9267
Computer Music Journal
The MIT Press
About: Computer Music Journal is an academic journal published by The MIT Press. The journal publishes majorly in the area(s): Computer music & MIDI. It has an ISSN identifier of 0148-9267. Over the lifetime, 1203 publications have been published receiving 31174 citations. The journal is also known as: CMJ.
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TL;DR: This book presents a meta-modelling framework for automating the very labor-intensive and therefore time-heavy and expensive process of manually cataloging and reconstructing musical structures in data from Chaotic Attraction.
Abstract: Foreword (Albert Bregman) An Introduction to Auditory Display (Gregory Kramer) Delivery of Information Through Sound (James A. Ballas) Perceptual Principles in Sound Grouping (Sheila M. Williams) Spatial Sound and Sonification (Elizabeth M. Wenzel) Pattern and Reference in Auditory Display (Robin Bargar) Environments for Exploring Auditory Representations of Multidimensional Data (Stuart Smith, Ronald M. Pickett, and Marian G. Williams) Some Organizing Principles for Representing Data with Sound (Gregory Kramer) Sound Synthesis Algorithms for Auditory Data Representations (Carla Scaletti) Sonnet: Audio-Enhanced Monitoring and Debugging (David H. Jameson) A Framework for Sonification Design (Tara M. Madhyastha and Daniel A. Reed) Synchronization of Visual and Aural Parallel Program Performance Data (Jay Alan Jackson and Joan M. Francioni) Sonifying the Body Electric: Superiority of an Auditory over a Visual Display in a Complex, Multivariate System (W. Tecumeseh Fitch and Gregory Kramer) Auditory Display of Computational Fluid Dynamics Data (Kevin McCabe and Akil Rangwalla) Musical Structures in Data from Chaotic Attractors (Gottfried Mayer-Kress, Robin Bargar, and Insook Choi) Listening to the Earth Sing (Chris Hayward) Multivariate Data Mappings (Sara Bly).
639 citations
551 citations
TL;DR: Historically, physical models have led to prohibitively expensive synthesis algorithms, and commercially available synthesizers do not yet appear to make use of them, but as computers become faster and cheaper, and as algorithms based on physical models become more e cient, the authors may expect to hear more from them.
Abstract: Historically, physical models have led to prohibitively expensive synthesis algorithms, and commercially available synthesizers do not yet appear to make use of them. These days, most synthesizers use either processed digital recordings (\sampling synthesis") or an abstract algorithm such as Frequency Modulation (FM). However, as computers become faster and cheaper, and as algorithms based on physical models become more e cient, we may expect to hear more from them.
533 citations
TL;DR: A system for taking subjective measures of perceptual contrast between sound objects and using this data as input to some computer programs for additive synthesis and allow for the manipulation of the evolving spectral energy distribution and various temporal features of the tones.
Abstract: Research on musical timbre typically seeks representations of the perceptual structure inherent in a set of sounds that have implications for expressive control over the sounds in composition and performance. With digital analysis-based sound synthesis and with experiments on tone quality perception, we can obtain representations of sounds that suggest ways to provide low-dimensional control over their perceptually important properties. In this paper, we will describe a system for taking subjective measures of perceptual contrast between sound objects and using this data as input to some computer programs. The computer programs use multidimensional scaling algorithms to generate geometric representations from the input data. In the timbral spaces that result from the scaling programs, the various tones can be represented as points and a good statistical relationship can be sought between the distances in the space and the contrast judgments between the corresponding tones. The spatial representation is given a psychoacoustical interpretation by relating its dimensions to the acoustical properties of the tones. Controls are then applied directly to these properties in synthesis. The control schemes to be described are for additive synthesis and allow for the manipulation of the evolving spectral energy distribution and various temporal features of the tones. Tests of the control schemes have been carried out in musical contexts.* Particular emphasis will be given here to the construction of melodic lines in which the timbre is manipulated on a note-to-note basis. Implications for the design of human control interfaces and of software for real-time digital sound synthesizers will be discussed.
459 citations
TL;DR: This article is an attempt to provide feedback to both academic and commercial music software developers by showing how current DSP tools are being used by post-digital composers, affecting both the form and content of contemporary “non-academic“ electronic music.
Abstract: Over the past decade, the Internet has helped spawn a new movement in digital music. It is not academically based, and for the most part the composers involved are self-taught. Music journalists occupy themselves inventing names for it, and some have already taken root: glitch, microwave, DSP, sinecore, and microscopic music. These names evolved through a collection of deconstructive audio and visual techniques that allow artists to work beneath the previously impenetrable veil of digital media. The Negroponte epigraph above inspired me to refer to this emergent genre as “post-digital” because the revolutionary period of the digital information age has surely passed. The tendrils of digital technology have in some way touched everyone. With electronic commerce now a natural part of the business fabric of the Western world and Hollywood cranking out digital fluff by the gigabyte, the medium of digital technology holds less fascination for composers in and of itself. In this article, I will emphasize that the medium is no longer the message; rather, specific tools themselves have become the message. The Internet was originally created to accelerate the exchange of ideas and development of research between academic centers, so it is perhaps no surprise that it is responsible for helping give birth to new trends in computer music outside the confines of academic think tanks. A non-academic composer can search the Internet for tutorials and papers on any given aspect of computer music to obtain a good, basic understanding of it. University computer music centers breed developers whose tools are shuttled around the Internet and used to develop new music outside the university. Unfortunately, cultural exchange between nonacademic artists and research centers has been lacking. The post-digital music that Max, SMS, AudioSculpt, PD, and other such tools make possible rarely makes it back to the ivory towers, yet these non-academic composers anxiously await new tools to make their way onto a multitude of Web sites. Even in the commercial software industry, the marketing departments of most audio software companies have not yet fully grasped the post-digital aesthetic; as a result, the more unusual tools emanate from developers who use their academic training to respond to personal creative needs. This article is an attempt to provide feedback to both academic and commercial music software developers by showing how current DSP tools are being used by post-digital composers, affecting both the form and content of contemporary “non-academic“ electronic music.
372 citations