Noise in and as music

One hundred years after Luigi Russolo’s “The Art of Noises,” this book exposes a cross-section of the current motivations, activities, thoughts, and reflections of composers, performers, and artists who work with noise in all of its many forms. The book’s focus is the practice of noise and its relationship to music, and in particular the role of noise as musical material—as form, as sound, as notation or interface, as a medium for listening, as provocation, as data. Its contributors are first and foremost practitioners, which inevitably turns attention toward how and why noise is made and its potential role in listening and perceiving. Contributors include Peter Ablinger, Sebastian Berweck, Aaron Cassidy, Marko Ciciliani, Nick Collins, Aaron Einbond, Matthias Haenisch, Alec Hall, Martin Iddon, Bryan Jacobs, Phil Julian, Michael Maierhof, Joan Arnau Pàmies, and James Whitehead (JLIAT). The book also features a collection of short responses to a two-question “interview”—“what is noise (music) to you?” and “why do you make it?”—by some of the leading musicians working with noise today. Their work spans a wide range of artistic practice, including instrumental, vocal, and electronic music; improvisation; notated composition; theater; sound installation; DIY; and software development. Interview subjects include Eryck Abecassis, Franck Bedrossian, Antoine Chessex, Ryan Jordan, Alice Kemp (Germseed), George Lewis, Lasse Marhaug, Maja Solveig Kjelstrup Ratkje, Diemo Schwarz, Ben Thigpen, Kasper Toeplitz, and Pierre Alexandre Tremblay.Publishe

Noise in and as music

One hundred years after Luigi Russolo’s “The Art of Noises,” this book exposes a cross-section of the current motivations, activities, thoughts, and reflections of composers, performers, and artists who work with noise in all of its many forms. The book’s focus is the practice of noise and its relationship to music, and in particular the role of noise as musical material—as form, as sound, as notation or interface, as a medium for listening, as provocation, as data. Its contributors are first and foremost practitioners, which inevitably turns attention toward how and why noise is made and its potential role in listening and perceiving. Contributors include Peter Ablinger, Sebastian Berweck, Aaron Cassidy, Marko Ciciliani, Nick Collins, Aaron Einbond, Matthias Haenisch, Alec Hall, Martin Iddon, Bryan Jacobs, Phil Julian, Michael Maierhof, Joan Arnau Pàmies, and James Whitehead (JLIAT). The book also features a collection of short responses to a two-question “interview”—“what is noise (music) to you?” and “why do you make it?”—by some of the leading musicians working with noise today. Their work spans a wide range of artistic practice, including instrumental, vocal, and electronic music; improvisation; notated composition; theater; sound installation; DIY; and software development. Interview subjects include Eryck Abecassis, Franck Bedrossian, Antoine Chessex, Ryan Jordan, Alice Kemp (Germseed), George Lewis, Lasse Marhaug, Maja Solveig Kjelstrup Ratkje, Diemo Schwarz, Ben Thigpen, Kasper Toeplitz, and Pierre Alexandre Tremblay

Collaborative interfaces for ensemble live coding performance

This research is a practice-led investigation into collaborative user interfaces within the practice of live coding; the act of writing computer code for generating improvised music live in front of an audience. It examines the impact of user interface design parameters on group creativity and explores the roles of data, text, and programming languages as media for musical communication. Utilising a multi-faceted research method that combines iterative “participatory design” (Spinuzzi, 2005) with performance-led “research in the wild” (Benford et al., 2013), this research couples ethnographic and autoethnographic observations to gain insight into the practice of ensemble live coding and inform software design. Three novel collaborative interfaces have been developed as part of this research that explore various facets of musical collaboration in live coding. Each interface was developed through an iterative and reflexive methodology focused on user-centred design and was employed in a cyclical process of artistic practice and refinement based on user evaluation and in-depth study. The first interface, entitled Troop, is a shared text editor that allows multiple performers to collaborate on the same single body of code together. The second, CodeBank, explores how private working in a collaborative context affects creativity and improvisation. Finally, PolyGlot, combines multiple live coding languages into a single collaborative interface that enables live coding musicians to play together, regardless of their knowledge of languages. As well as these three graphical interfaces, the functionality of an existing live coding language, FoxDot, was extended to help facilitate the sharing of musical information within an ensemble. Each interface was used in live performance by The Yorkshire Programming Ensemble and evaluated through group interview sessions that examined the themes of immediacy, trust, and risk with regards to both human-computer interaction and intra-ensemble communication as well as the experience of personal- and group-flow states

Proceedings of the 19th Sound and Music Computing Conference

Proceedings of the 19th Sound and Music Computing Conference - June 5-12, 2022 - Saint-Étienne (France). https://smc22.grame.f

Designing sound : procedural audio research based on the book by Andy Farnell

In procedural media, data normally acquired by measuring something, commonly described as sampling, is replaced by a set of computational rules (procedure) that defines the typical structure and/or behaviour of that thing. Here, a general approach to sound as a definable process, rather than a recording, is developed. By analysis of their physical and perceptual qualities, natural objects or processes that produce sound are modelled by digital Sounding Objects for use in arts and entertainments. This Thesis discusses different aspects of Procedural Audio introducing several new approaches and solutions to this emerging field of Sound Design.Em Media Procedimental, os dados os dados normalmente adquiridos através da medição de algo habitualmente designado como amostragem, são substituídos por um conjunto de regras computacionais (procedimento) que definem a estrutura típica, ou comportamento, desse elemento. Neste caso é desenvolvida uma abordagem ao som definível como um procedimento em vez de uma gravação. Através da análise das suas características físicas e perceptuais , objetos naturais ou processos que produzem som, são modelados como objetos sonoros digitais para utilização nas Artes e Entretenimento. Nesta Tese são discutidos diferentes aspectos de Áudio Procedimental, sendo introduzidas várias novas abordagens e soluções para o campo emergente do Design Sonoro

Idea and community : the growth of David Tudor's Rainforest, 1965-2006

David Tudor's sound work Rainforest was created in four distinct versions between 1968 and 1973. The work's central concept is the use of various resonant objects as loudspeakers, or "acoustic filters", to modify sounds from numerous sources which are played through the objects. The author traces Tudor's exploration of the "loudspeaker-object" idea, which Tudor dates back to 1965, and considers the significance of the community of artists, engineers, composers and choreographers surrounding Tudor, for the development of each version of Rainforest. In particular this thesis is concerned with Composers Inside Electronics (CIE), the "family" of younger composer-performers which developed Rainforest 4 with Tudor in 1973, and regularly presented it with him until 1982 as a large-scale "performed installation". During that time CIE also functioned as a collaborative ensemble performing other works by Tudor and the group's members, employing new technologies with an emphasis on "hand-built" electronic devices. A number of CIE works can be shown to be related to the Rainforest series. Following a hiatus between 1982 and Tudor's death in 1996, CIE has again performed Rainforest 4 in several major installations, and has made efforts to bring a new'generation of performers into the group. The author considers the dynamics of this process in the continuation of Rainforest 4 up to 2006, and examines the group's discussions concerning possible future directions for Rainforest