Live Electronic Music

This study compares the emotional sound design of 1970s Italian giallo, contemporary cinematic horror, and television serial horror. By analyzing Deep Red, The Bird with the Crystal Plumage, Sinister, The Conjuring, The Nun, M3GAN, Obsession, and American Horror Story, it shows how three different techniques – magnetic tape manipulation, procedural digital audio, and serial sound design – achieve the same goal: triggering physiological fear responses without conscious mediation. The difference lies in the medium: human imperfection of analog, surgical precision of digital, and rhythmic persistence of serial sound. Spectral analysis and audience reports demonstrate that infrasonic frequencies, structured silences, and dehumanized voices act directly on the autonomic nervous system, bypassing rational interpretation.

Spazio come parametro compositivo / Ascolto, soglia e spazializzazione / Una drammaturgia senza rappresentazione / Il coro come soglia della memoria / Il flauto come soglia del suono / Elettronica e dislocazione dell’ascolto / Prassi “mista” e “simbolica”

This paper is a description of the compositional and realization processes behind Recordare-Madrigale recitato per suoni elaborati, a 7' minutes-long acousmatic piece that I have created between 1996 and 2001. Recordare features some interesting macro-granular techniques which meet specific compositional and aesthetic demands and requirements. Furthermore, although it is an acousmatic work, its fully automated building process allows constant recreation and adaptation to different spaces and venues. Finally, Recordare has been developed and written with longevity in mind: it was conceived entirely with Free Software tools in order to guarantee its longterm sustainability and reproducibility.

This article details the development of a computational patch designed for real-time processing in the composition of Chronos IIIc, originally written by Brazilian composer Roberto Victório for solo cello. In this version, the piece incorporates an additional layer of electronic elements. Initially, we provide a historical and structural analysis of Victório's compositional project. Following that, we explore the functioning of Somax2, a computational system dedicated to real-time improvisation embedding reactive multi-agent interaction and an AI model based on machine listening and statistical learning. Building on this understanding, we present the process of electronic realization of the piece, investigating how the parameterizations of available modules can replicate the interactions envisioned by the composer between the cello and

This paper presents the development of MapLooper: a live-looping system for gestureto-sound mappings. We first reviewed loop-based Digital Musical Instruments (DMIs). We then developed a connectivity infrastructure for wireless embedded musical instruments with distributed mapping and synchronization. We evaluated our infrastructure in the context of the real-time constraints of music performance. We measured a round-trip latency of 4.81 ms when mapping signals at 100 Hz with embedded libmapper and an average inter-onset delay of 3.03 ms for synchronizing with Ableton Link. On top of this infrastructure, we developed MapLooper: a livelooping tool with 2 example musical applications: a harp synthesizer with SuperCollider and embedded source-filter synthesis with FAUST on ESP32. Our system is based on a novel approach to mapping, extrapolating from using FIR and IIR filters on gestural data to using delay-lines as part of the mapping of DMIs. Our system features rhythmic time quantization and a flexible loop manipulation system for creative musical exploration. We open-source all of our components.

Is it possible to conceive a kind of musical significance that would be carried by both human and artificial agents, cooperating together, especially if it is supported by a vision unfettered from rigidity of genres and disciplines? Such an approach would be truly "indisciplinary", allowing thinking and practice at the fringes of arts and sciences, while staying clear from an indistinct form of fusion (music is music, science is science) or a simple utilitarian distribution of tasks between engineer and artist (as is commonly practiced in the music industry for the development of new production tools or recommendation technologies). The music gathered in this CD is the result of a full experience of collective indiscipline, exploring free improvisation as a domain of expression for a shared musicality between humans and "machines" (including abstract mechanisms such as algorithms) in a context where each learns from and progresses with the other, and where they challenge each other. The release of these pieces, recorded over many years of close-knit collaboration between Bernard Lubat, Marc Chemillier and the author (with their respective machines), offers an opportunity to revisit these ideas and attempt to conceptualize them to some extent, even if our claim of "indiscipline" as pertaining to the freedom of improvisation might seem contradictory to abstract reasoning: this is why we ask the reader to regard this reflection as a rather free improvisation (of thought), an attempt to give oneself relevant tools to apprehend what has surfaced from all this music-sometimes noise-and these ideas, in the course of years of experimentation.

In this paper we describe a prototype system for haptic notifications in the context of music performance with live electronics. In current practice there is typically no physical connection between the human performer and the live electronics system, breaking the actionperception loop, which can render performers insecure. Leveraging recent work in the field of tactile notification we aim at closing this loop by communicating information from the live electronics system to the performer via the haptic channel. We present a prototype tactile synthesizer, embedded in a Max-based modular software framework for live electronics, titled CLEF (CIRMMT Live Electronics Framework). Tactile notifications can thus become an integral part of a musical score and communicate information to performers, allowing for tighter interaction with the live electronics system.

Une des grandes révolutions du monde musical est l'apparition de l'enregistrement et des nouveaux moyens technologiques de diffusion sonore. Le monde est passé progressivement d'un environnement acoustique naturel à un environnement sonore décuplé et amplifié. L'auditeur actuel est donc soumis à des intensités sonores croissantes, il en devient même demandeur. Après avoir examiné les dangers potentiels du son, cet article s'interroge sur la nécessité de proposer une éducation à l'oreille dans les systèmes éducatifs contemporains.

This paper considers various elements that influence the decisions taken when designing performance environments for compositions featuring acoustic instruments with electronics. The implications of choosing different models for the control of the electronics are discussed. Models lying along a continuum between fully automated systems at one end and passive environments controlled by a human performer at the other are considered. The ways in which choices made when mapping control parameters to the sound engine affect the affordances available to the human performer are explored, and the advantages of using a score to define parameters for improvisation are discussed. Following from this, different models for notating the electronic part in mixed compositions are presented and the implication of using the computer as the principal agent for controlling the electronic part are considered. This leads into a discussion as to what constitutes a score for the electronic part. Different paradigms are presented and their implications considered. The paper then discusses the ease of encoding and decoding musical information at different representational levels into and out of a computer. This has implications for machine learning and score following systems. The paper concludes by presenting an example of a digital performance environment from the author's own work, together with a score for controlled improvisation using the interface.

This paper considers various elements that influence the decisions taken when designing performance environments for compositions featuring acoustic instruments with electronics. The implications of choosing different models for the control of the electronics are discussed. Models lying along a continuum between fully automated systems at one end and passive environments controlled by a human performer at the other are considered. The ways in which choices made when mapping control parameters to the sound engine affect the affordances available to the human performer are explored, and the advantages of using a score to define parameters for improvisation are discussed. Following from this, different models for notating the electronic part in mixed compositions are presented and the implication of using the computer as the principal agent for controlling the electronic part are considered. This leads into a discussion as to what constitutes a score for the electronic part. Different ...

The proliferation of online music production tools has transformed the landscape of collaborative music-making, enabling artists to transcend geographical boundaries. The Collaborative Music Contest, an international competition, investigates the creative potential of remote collaboration through digital platforms. This chapter presents insights and findings from two contest iterations in 2021 and 2022, which engaged musicians from across the globe. The contest encouraged collaborative music creation using various software platforms, revealing how musicians utilize the Internet for remote co-creation. This study explores key questions surrounding the impact of geographical separation on creative partnerships, the types of software employed, musicians' openness to working with new collaborators, and the role of community-building in online creative processes. While collaborative Digital Audio Workstations (DAWs) were commonly used, many participants opted for mainstream DAWs without built-in collaborative features, relying on external tools for communication and file sharing. The choice of software significantly influenced both the mix quality and stylistic outcomes of the projects. An important finding is that geographical separation did not hinder effective collaboration, with many musicians willing to work with unfamiliar partners. The contest also highlighted the crucial role of virtual communities in fostering creativity, providing participants with feedback, support, and a sense of belonging. These communities are essential for online music creation, especially in times of social isolation. The authors-one the contest founder and chair of the judging panel, and the other a judge for the second edition-present findings that emphasize the significance of collaborative software solutions in enabling remote songwriting and production. As the music technology landscape continues to evolve, these platforms are becoming essential tools for contemporary musicians, shaping how music is created and shared in the digital age.

Ensayo que reflexiona sobre las propuestas reivindicativas de Aurora Cáceres, Leonor Espinoza de Menéndez y Miguelina Acosta Cárdenas, quienes, desde distintos formatos escriturarios y horizontes éticos e ideológicos, reflexionaron sobre la desigualdad estructural de las mujeres. Propongo leer las obras de estas autoras como piezas dentro de un continuum de condiciones de posibilidad enunciativa cuya ponderación es clave para ahondar en las derivas y divergencias de los feminismos (en términos epistemológicos) en el Perú del tránsito al siglo XX

Il contributo evidenzia l'analisi formale del primo movimento di Nidi (1979) per ottavino solo, caratterizzandolo sotto il profilo musicologico e storico, analizzandone le implicazioni sotto il profilo analitico e formale. Emerge una strutturazione a pannelli che incarna e trasfigura la classica forma con variazione, divenendo palestra compositiva per composizioni più tarde come Francoise Variationen (1995). Per ultimo si dimostra come in Donatoni il concetto di eredità, o meglio di ereditarietà, sia intriso di un preciso connotato compositivo, trovando applicazione sia all'interno delle composizoni, sia interfacciandosi con altri brani della produzione di Donatoni e non solo.

This event celebrates the work of two extraordinary creative minds, mezzosoprano Cathy Berberian (1925-1983), whose vocal versatility and
imagination had an enormous impact on twentieth-century avant-garde art
music and music theater, and composer Luciano Berio (1925-2003), who
broke new ground in serialism, the concept of the open work, and the
application of linguistic principles in musical composition. Focusing on their
collaborations as well as on their individual artistic activities, the workshops
aim to advance fresh knowledge about Berberian and Berio through the lens
of new primary sources from the Berberian and Berio archives at the Paul
Sacher Stiftung in Basel, Switzerland, that illuminate the context and inner
dynamics of their creative worlds and performance practice. Also discussed
are sources from the McGill Archives pertaining to the collaboration
between Berberian and Canadian composer Harry Somers (1925-1999), who
wrote one work for her.
Held at McGill University and a few other venues in Montreal to mark the
centenary of the births of Berberian and Berio, as well as Somers, the event
is co-organized by the Paul Sacher Stiftung and the Schulich School of Music
of McGill University in collaboration with the Centro Studi Luciano Berio,
the Centre for Interdisciplinary Research in Music Media and
Technology (CIRMMT), Paramirabo, and the Istituto Italiano di Cultura in
Montreal with support from the Social Sciences and Humanities Research
Council of Canada. We are pleased to feature interactive scholarly sessions
and lectures held by an international group of performers and scholars, three
concerts, and other activities.

Tre squadre di giovani musicisti guidate da:
Silvia Bolognesi (contrabbasso e conduction)
Francesco Giomi (conduction)
Walter Prati (coordinamento ed elettronica)
in un contest di improvvisazione elettro-acustica.
Un progetto di Roberto Fabbi, sviluppato in collaborazione con i conduttori.

Until a few years ago, especially within a disciplinary path of philosophy or psychology, it was believed that the ability to think constituted a distinctive trait of the human being. In contrast, several studies that have appeared in recent decades now offer a very different perspective. The purpose of this second contribution is to offer further elements for the problematization of the starting assumption, taking into consideration some examples from the plant world.

It is the inaudible, the unheard that does not fill the space but discovers the space, uncovers the space as if we too have become part of sound and we were sounding ourselves (Luigi Nono). Emphasising the necessity for contemporary music to 'intervene in the sonic reality of our time', Nono strove to expand the conception of musical space in three directions: the transformation of non-musical space with the performance of his music in factories and prisons, the creation of a new musical space for the opera, Prometeo, and the discovery of the inner musical space of sound and silence, 'the inaudible, the unheard', in which we 'become part of sound' and we are 'sounding ourselves'. Nono aimed at 'the composition of music that wants to restore infinite possibilities in listening today, by use of non-geometrical space'. With the conception of opera as 'azione scenica' (stage activity) and a 'theatre of consciousness', Nono's 'musical space' for the performance of Prometeo was realised within a colossal wooden structure (by Renzo Piano) combining the stage, the set, and the orchestra pit into a single element. With the conviction that it is the composer's and the listener's responsibility to recognise how every sound is politically charged by its historical associations, Nono affirmed the simultaneity of musical invention and moral commitment and political action for justice and freedom. 'A new way of thinking music' To wake up the ear, the eyes, human thinking, intelligence, the most exposed inwardness. This is now what is crucial (Nono [1983] 2001, 1:522).

It is the inaudible, the unheard that does not fill the space but discovers the space, uncovers the space as if we too have become part of sound and we were sounding ourselves (Luigi Nono). Emphasising the necessity for contemporary music to 'intervene in the sonic reality of our time', Nono strove to expand the conception of musical space in three directions: the transformation of non-musical space with the performance of his music in factories and prisons, the creation of a new musical space for the opera, Prometeo, and the discovery of the inner musical space of sound and silence, 'the inaudible, the unheard', in which we 'become part of sound' and we are 'sounding ourselves'. Nono aimed at 'the composition of music that wants to restore infinite possibilities in listening today, by use of non-geometrical space'. With the conception of opera as 'azione scenica' (stage activity) and a 'theatre of consciousness', Nono's 'musical space' for the performance of Prometeo was realised within a colossal wooden structure (by Renzo Piano) combining the stage, the set, and the orchestra pit into a single element. With the conviction that it is the composer's and the listener's responsibility to recognise how every sound is politically charged by its historical associations, Nono affirmed the simultaneity of musical invention and moral commitment and political action for justice and freedom. To wake up the ear, the eyes, human thinking, intelligence, the most exposed inwardness. This is now what is crucial (Nono [1983] 2001, 1:522).

Oggi, forse più di qualche anno addietro, si capiscono meglio e si apprezzano figure, come quella di Paccagnini (Castano Primo 1930-1999), che hanno fatto della loro vita, ancor prima che della loro arte, un cammino fra esodo e avvento, per riprendere alcune suggestioni religiose care al Maestro. Un esodo dai meccanismi della società mercantile per avviarsi verso l'attesa dell'avvento di un mondo migliore: utopia che percorre come un fremito o come nostalgia tutta la vita di Paccagnini. Utopia è un posto che non c'è, ma che potrebbe esistere nel regno del possibile. E' anche l'Utopia delle grandi filosofie sociali, da quella di Platone a quella di Marx, alle quali Paccagnini è stato molto attento e sensibile. "al di là di manifesti ideologici, cari a molti compositori della fine degli anni Sessanta e dell'inizio dei Settanta, la ricerca di Paccagnini, oltre a essere una ricerca musicale rigorosa e tecnicamente efficace, è una ricerca sull'impossibilità della comunicazione tout-court e sulla possibilità di comunicare, l'ultima possibilità, che ha il nostro corpo, e con esso la nostra voce, tramite i segni di insofferenza verso il mondo contemporaneo che esso esprime" (1). Abbiamo davvero necessità di una nuova e laica spiritualità. La tematica della falsa comunicazione e del bisogno di un rinnovato rapporto fra gli uomini è tema centrale nella produzione di Paccagnini. I personaggi protagonisti dell'opera Le sue ragioni (1959, composizione dal valore storico notevolissimo, essendo il primo lavoro teatrale in ambito post-weberniano) sono delle maschere, "manichini sperduti davanti al baratro dell'incomprensione reciproca" (2). La musica di Paccagnini sembra fatta di continui naufragi nel mare del molteplice (o della multimedialità), sempre perdendosi e sempre ritrovandosi. È memoria da naufrago. Paccagnini sembra proprio aspirare, da sopravvissuto alla catastrofe della guerra, all'Utopia di una nuova condizione umana, di una rappacificata coscienza sociale. È musica utopica la sua, con quella forza che Bloch aveva già individuato nella vera Utopia. L'arte stessa è utopia , si situa ciò in un luogo che non fa parte del pensiero e del fare quotidiano, ma abita altrove, su una soglia enigmatica dove si decide del sì e del no, al confine fra senso comune e gesto straordinario che, proprio per questa sua eccezionalità, fa eccezione rispetto alle altre discipline e non si lascia facilmente imbrigliare dalle maglie del politicamente corretto. Questo confine fra il senso comune (della storia) e l'essere vocato alla forza utopica dell'arte è la stretta striscia (al confine con le terre fertili) che Paccagnini percorre. Il gesto, così importante in Paccagnini, che costruisce non rimanda solo alla techne ma anche all'episteme, indica qualcosa di ben più ampio e profondo del fare, perché di-svela la struttura, la sostanzia con l'esperire e la apre all'ascolto. In Paccagnini non c'è solo la negazione del perbenismo artistico e del politicamente corretto, nelle sue scelte c'è pure la positività della proposta di una nuova verginità del pensiero, di una purezza del fare, per approdare a un'opera innocente. Un'opera che non fugge dal Mondo, ma lo interroga e interagisce con sana ironia, una lontananza che non significa disimpegno, al contrario, rappresenta la consapevolezza dell'esserci in modo critico. La coscienza critica di Paccagnini nessuno vorrà mettere in dubbio, lui che fu essere umano molto attento al suo prossimo e agli avvenimenti sociali e storici del suo tempo.

Musical experiences can be highly multisensory, from obvious auditory stimulation, to the visual elements of a live performance, and physical excitement of the body. In this paper, we propose a means of incorporating an additional somatic channel of communication into live performances and compositional practice to further augment the physical nature of live performance. This work explores the integration of augmented vibratory, or haptic stimulation for audiences in live performance. The vibration interface is presented as an expressive and creative live performance-based tool for composers. Vibrations, or haptics, are implemented as an additional instrumental line, alongside auditory musical gestures, to expand the composer's palette of expressions through augmented somatic engagement. The paper starts with the work's overall context, followed by related literature from exisitng projects that have informed this research. It also includes a discussion of the design and development of an array of vibrating motors, a composition produced for the system, and ongoing work.

1970-lukua on luonnehdittu pluralismin ajaksi suomalaisen klassisen musiikin historiassa. Millaisia arvoja ja esteettisiä ihanteita tuolloin oli klassisen musiikin kentässä? Millainen nykymusiikki oli 1970-luvun puolivälin Suomessa hyväksyttyä? Tässä mikro- ja reseptiohistoriaa yhdistelevässä artikkelissa aihetta lähestytään säveltäjä Ann-Elise Hannikaisen (1946–2012) pianokonserton (1976) herättämän lehdistöreseption kautta.

This text examines the work of Sergio Lombardo
between the years 1969 and 1979, analysing the
crucial role of scientific experimentation in both the
ideational process and in their realisation.
Furthermore, it provides a comprehensive account of
the artist’s production from this period, which
remains relatively unknown to the general public and
scholars alike, offering a concise historical overview
of the decade. The process of distinguishing the works
into series and examining them in detail was carried
out in collaboration with Sergio Lombardo in his
studio. This involved observing the original projects
and discussing their genesis and functioning. The aim
of this study is to provide an overview of the evolution
of Sergio Lombardo’s theoretical thinking and artistic
practice by analysing the series of the 1970s
individually. This analysis will reconstruct a
chronology that not only shapes his work but also
opens up a new path in the history of Italian art of the
decade.

"Speakings" for orchestra and live electronics (2007–08) by Jonathan  Harvey provides an example of a work presented publicly as a collective  “project with an artistic aim .” However, Harvey’s own research is  still only partially known to us because in practice – something that the  composer himself referred to in his writings – we rarely have access to the  “privacy in which composition is usually carried out .” We get an insight into his privacy through the annotations in his books that tell  us a lot about his readings and reflections . Harvey’s notes document not  only the issues that were within the range of his interests but also their  intellectual processing and his ways of conducting dialogue with literature.  The knowledge we gain from Harvey’s reading potentially  leads us in two directions . We can explore in some depth the creative process which led to the creation of "Speakings", and at the same time, we can  learn something about Harvey the researcher, about how "Speakings" is  positioned in the intellectual world of the composer’s reading, and how  working on this composition allowed him to realize his (comprehensive  and interdisciplinary) passion for knowledge

Esta comunicação tem por objetivo apresentar a primeira etapa de um estudo que busca averiguar a possibilidade de se reconciliar os novos materiais sonoros oriundos de avanços tecnológicos e científicos a procedimentos tradicionais utilizados por compositores para a estruturação de suas obras. Nessa primeira etapa revisam-se e discutem-se conceitos como material sonoro, écriture e material musical, a partir de concepções de autores como

In this work we present the SuperCopair package, which is a new way to integrate cloud computing into a collaborative live coding scenario with minimum efforts in the setup. is package, created in Coffee Script for Atom.io, is developed to interact with SuperCollider and provide opportunities for the crowd of online live coders to collaborate remotely on distributed performances. Additionally, the package provides the advantages of cloud services offered by Pusher. Users can share code and evaluate lines or selected portions of code on computers connected to the same session, either at the same place and/or remotely. e package can be used for remote performances or rehearsal purposes with just an Internet connection to share code and sounds. In addition, users can take advantage of code sharing to teach SuperCollider online or fix bugs in the algorithm.

The significance of defining musical form is to describe the music not only in its own terms but in a wider musical context. Musical form has long been the primary identifier for a piece of music in the context of the canon as a succinct framework to describe the events within a piece of music. Form, being generally descriptive, not prescriptive, does not dictate the requirements of contemporaneous compositional trends but retroactively identifies and categorizes those trends. The introduction of electroacoustic techniques into music carries the potential to redefine existing definitions of music and the primacy of form in said definitions, owing to the vast and unprecedented diversity of techniques and approaches made possible by modern technology. Uniquely electronic techniques facilitate the creation of structures in manners wholly impossible using pre-electronic techniques. The acoustic element of live-performed electroacoustic music, however, serves as a counterweight to the potentially limitless possibilities of electronics, tempering its development of form towards more traditional tendencies.

This article analyzes how pop music has dealt with visions and impacts of digiti­zation and cybernation, looking at selected key works from the late 1960s throughout the 1990s. Taking its perspective from the sociology of knowledge, it identifies pop music’s trajectory of imaginations in the context of techno­logical change processes. The article concludes that the artistic treatment of these processes remains largely vague and ambiguous, its habitus for the most part dystopian. In fact, rarely did pop music cover digitization and cybernation at all in the period under scrutiny. This relative lack of coverage due to oversight or denial may be attributed to a stance based on nihilistic avoidance unconsciously incorporated in the historical situation.

Modulation, a term often used to describe a temporary or permanent change of key in traditional common practice music, has been somewhat relegated and precluded from being used to describe other elements of music and sound. There is a useful exception, that of "metric" modulation. I would argue that this is because the metric modulation example has become an understood and formally chronicled methodology that justifies its existence and usage. In the process of modulating from one key to another, the traditional use of a "pivot" chord provides a mechanism for shifting from one key to another via a chord common to both keys. Metric modulation shares the "pivot" in that a common

Helsinki kehittyi Suomen musiikkielämän keskukseksi yliopiston muutettua sinne vuonna 1828. Tärkeimpiä sinfonisen orkesterimusiikin esityspaikkoja 1800luvulla olivat Yliopiston juhlasali, Seurahuoneen ensimmäinen ja toinen juhlasali sekä Vapaaehtoisen palokunnan talon juhlasali. Näitä tiloja ei enää ole tai niitä on huomattavasti muutettu. Siten 1800-luvun konserttielämystä ei akustisten olosuhteiden kannalta ole Helsingissä enää mahdollista tavoittaa. Näiden neljän konserttitilan akustiikkaa tutkittiin huoneakustisella tietokonemallinnuksella. Huoneakustisen mallinnuksen tuloksia verrattiin sanomalehtien konserttiarvosteluissa esitettyihin konserttitilojen akustiikkaa koskeviin arvioihin, jotka vastasivat mallinnuksen tuloksia. Kaikki neljä konserttitilaa olivat akustiikaltaan sinfonisen orkesterimusiikin esittämiseen sopivia, mutta jokaisella oli omat erityispiirteensä. Yliopiston juhlasalin tilaratkaisu oli poikkeuksellinen: puoliympyrän muotoinen auditorio, jonka toisessa päässä oli orkesterilava. Tämä tarkoitti sitä, että kuulokuva on ollut epäsymmetrinen: orkesterin ääni on kuulunut lavan suunnasta tai salin etuseinästä heijastuneena voimakkaampana kuin nousevan katsomon suunnasta, jossa yleisö on vaimentanut heijastuksen. Seurahuoneen ensimmäinen juhlasali oli tutkituista tiloista selvimmin perinteinen kenkälaatikon muotoinen sali. Kuulokuva on sivuseiniltä yleisölle saatujen heijastusten johdosta ollut leveä, mutta tila oli melko matala. Mataluutensa vuoksi sali on kuulostanut jonkin verran kuivemmalta kuin muut salit. Seurahuoneen toisen juhlasalin erityispiirre oli se, että salin etuosassa orkesterilavan molemmin puolin oli salonki, josta oli kulkuaukko saliin. Osa äänestä kulki salonkeihin, eikä kuulokuvan kannalta tärkeitä sivuheijastuksia saapunut yleisölle niin paljon kuin muissa tiloissa. Vapaaehtoisen palokunnan talon ominaispiirre oli se, että sali oli leveyssuunnassa epäsymmetrinen: molemmilla puolilla oli parvi, mutta vasemmalla puolella istuinpaikkoja oli parven alla, oikealla ei. Subjektiivisena havaintona tämä on konserttitilanteessa tarkoittanut sitä, että kuulokuva on siirtynyt vasemmalle.

We currently live at the end of the perspectival era, which, nonetheless,
is still dominant in areas of social structures and institutions. To
adopt an awareness system better suited to experience complexity,
we need to be able to see and communicate beyond the linear order.
One of the ways of developing such a mode of communication, is to
invite creative expressions, such as complex music. This article argues
that IT tools like software and AI can be used alongside acoustic
instrumentation in musical composition in ways that support expression
of both male (Animus) and female (Anima) Jungian gender
archetypes. Such music is characterized by complex androgynous
structures supporting creativity. Drawing parallels between acoustic
instrumentation (Anima) and electronic instrumentation (Animus), the
article analyses two musical compositions by Dobromiła Jaskot as
examples of a fused music process, suggesting that creative possibilities
lie in the androgynous instant when these two gendered energies
meet. The contribution of this paper is consists of demonstrating how
creative energies related to the archetype of the Androgyne can provide
space for creative breathing, whereby rupturing the dominant
linear order and inviting aperspectival thinking into social communication.
Moreover, our pluridisciplinary approach also helps to bring
out complexity: we combine sociological, philosophical and musicological
ideas in order to better understand the creative process in
music.

Iannis Xenakis’ first electroacoustic work, Diamorphoses (for magnetic tape, 1957), has been studied and analyzed by various scholars, usually in analysis approaches based on listening and perceptual features. Information concerning the production means is limited and uncertain. Some authors mention the use of the phonogéne as well as of the morphophone, magnetophonic processing systems developed in the '50s at GRM in Paris, where the piece was made. Here, based on the historical sources and clues gathered, we put forth the hypothesis that the morphophone was used to produce very peculiar sonorities sometimes described as "glissando swarms" or in other, similar ways. To test the hypothesis, in concrete operational manners, we resort to the Digital Morphophone Environment, a recent audio digital application written in Max. By way of reconstructing the accumulation process of innumerable short glissando sounds, we prove the hypothesis to be essentially correct. The paper also provides hints as to how Xenakis might have tried to manage the 'density' of his thick sound textures.

This paper discusses the evolution of the Max/MSP patch used in schismatics (2007, rev. 2010) for electric violin (Violectra) and computer, by composer Sam Hayden in collaboration with violinist Mieko Kanno. schismatics involves a standard performance paradigm of a fixed notated part for the e-violin with sonically unfixed live computer processing. Hayden was unsatisfied with the early version of the piece: the use of attack detection on the live e-violin playing to trigger stochastic processes led to an essentially reactive behaviour in the computer, resulting in a somewhat predictable one-toone sonic relationship between them. It demonstrated little internal relationship between the two beyond an initial e-violin ‘action’ causing a computer ‘event’. The revisions in 2010, enabled by an AHRC Practice-Led research award, aimed to achieve 1) a more interactive performance situation and 2) a subtler and more ‘musical’ relationship between live and processed sounds. This was realised t...

This paper discusses the evolution of the Max/MSP patch used in schismatics (2007, rev. 2010) for electric violin (Violectra) and computer, by composer Sam Hayden in collaboration with violinist Mieko Kanno. schismatics involves a standard performance paradigm of a fixed notated part for the e-violin with sonically unfixed live computer processing. Hayden was unsatisfied with the early version of the piece: the use of attack detection on the live e-violin playing to trigger stochastic processes led to an essentially reactive behaviour in the computer, resulting in a somewhat predictable one-toone sonic relationship between them. It demonstrated little internal relationship between the two beyond an initial e-violin 'action' causing a computer 'event'. The revisions in 2010, enabled by an AHRC Practice-Led research award, aimed to achieve 1) a more interactive performance situation and 2) a subtler and more 'musical' relationship between live and processed sounds. This was realised through the introduction of sound analysis objects, in particular machine listening and learning techniques developed by Nick Collins. One aspect of the programming was the mapping of analysis data to synthesis parameters, enabling the computer transformations of the e-violin to be directly related to Kanno's interpretation of the piece in performance.

Professor David Borgo. Without his support, motivation and persistence this dissertation would not have been possible. Special thanks also to Professor Nancy Guy for her insight, thought-provoking seminars, friendship and encouragement. Phil Skaller and Ben Power, two members of my cohort, provided invaluable help with my work, editing and providing meticulous comments. Most importantly: they were great friends to me through the whole process. My heartfelt thanks, I am deeply indebted to both of you. I also wish to acknowledge friends and family that were constant companions, encouraging me through the process. If they weren't present in person, they were on

We present a novel human-centered gestural system for vocal improvisation, ªKinesthesisº, to be used in new opera and musical theatre. We demonstrate the relationship between music composition, gesture and programming. An advantage of our system is the multimodal interaction technique through the invisible interface, which examines the use of electroacoustic techniques in human voice, in a theatre context. It explores the use of live or recorded, digitally processed voice as a sound source for the development of music cues for playback through a multi-channel speaker system. We also describe the application of the proposed system, in a real-time season theatre performance, where ªKinesthesisº was controlled through hand gestures from the actors, reinforcing the interactivity and highlighting the use of electroacoustic techniques in music theatre.

PT: O ano de 2021 marca os 50 anos da primeira vez que o termo krautrock apareceu
na grande mídia, utilizado para referir-se a um conjunto de bandas alemãs surgidas na década de 1960 que misturavam rock psicodélico com improvisação, minimalismo, experimentalismo e, principalmente, música eletroacústica, um gênero musical que a Alemanha ajudou a desenvolver e a consolidar a partir de compositores como Herbert Eimert, Werner Meyer-Eppler e Karlheinz Stockhausen. O krautrock foi a manifestação
musical de uma juventude descontente com o passado recente de um país envolvido em
guerras e ideologia política ultraconservadora, e que naquele momento ainda sofria com
resquícios desses traumas enraizados em sua cultura, além de um tradicionalismo singelo impregnado em suas músicas feitas para as massas. O krautrock nunca atingiu as paradas de sucesso das rádios e TVs, mas seu legado é sentido até os dias de hoje na música popular do mundo todo, mesmo após cinco décadas de lançamento dos principais álbuns daquela geração de jovens bandas alemãs, conforme apresentado no presente capítulo.

EN: The year 2021 marks the 50th anniversary of the first time the term krautrock appeared in the mainstream media, used to refer to a group of German bands that emerged in the 1960s that mixed psychedelic rock with improvisation, minimalism, experimentalism and mainly electroacoustic music, a musical genre that Germany helped to develop and consolidate through composers such as Herbert Eimert, Werner Meyer-Eppler and Karlheinz Stockhausen. Krautrock was the musical manifestation of a youth discontented with the recent past of a country involved in wars and ultra-conservative political ideology, and which at that time still suffered from remnants of these traumas rooted in their culture, in addition to a simple traditionalism impregnated in their music made for the masses. Krautrock never reached the radio and TV hit charts, but its legacy is felt to this day in popular music around the world, even after five decades of the release of the top albums by that generation of young German bands, as
presented in this chapter.