| 1. |
- Berry, Rodney, et al.
(författare)
-
Artificial Life: Why Should Musicians Bother?
- 2003
-
Ingår i: Contemporary Music Review. - : Informa UK Limited. - 0749-4467 .- 1477-2256. ; 22:3, s. 57-67
-
Tidskriftsartikel (refereegranskat)abstract
- No new technology appears in a society without causing changes to that society. Artists instinctively respond to these changes and the potential meanings of the technologies that bring them about. In this way, artists’ interest in technology goes beyond the simple desire to possess new tools for artistic expression. Artists serve to prepare society for the invisible changes going on within it by producing artworks in response to the mechanisms of change. This paper discusses the authors’ approaches to using concepts from artificial life in their musical works, which are basically of two kinds – artificial worlds producing music as an output, and interactive compositional tools using evolutionary algorithms to generate music and sound. It also provides a brief cultural context for these works.
|
|
| 2. |
- Carlson, Rolf, et al.
(författare)
-
Speech and music performance : parallels and contrasts
- 1989
-
Ingår i: Contemporary Music Review. - : Informa UK Limited. - 0749-4467 .- 1477-2256. ; 4, s. 389-402
-
Tidskriftsartikel (refereegranskat)abstract
- Speech and music performance are two important systems for interhuman communication by means of acoustic signals. These signals must be adapted to the human perceptual and cognitive systems. Hence a comparitive analysis of speech and music performances is likely to shed light on these systems, particularly regarding basic requirements for acoustic communication. Two computer programs are compared, one for text-to-speech conversion and one for note-to-tone conversion. Similarities are found in the need for placing emphasis on unexpected elements, for increasing the dissimilarities between different categories, and for flagging structural constituents. Similarities are also found in the code chosen for conveying this information, e.g. emphasis by lengthening and constituent marking by final lengthening.
|
|
| 3. |
- Dahlstedt, Palle, 1971
(författare)
-
Thoughts on Creative Evolution: A Meta-generative Approach to Composition
- 2009
-
Ingår i: Contemporary Music Review. - : Informa UK Limited. - 0749-4467 .- 1477-2256. ; 28:1, s. 43-55
-
Tidskriftsartikel (refereegranskat)abstract
- Numerous composers have used evolutionary algorithms to create music and sound. Such techniques can navigate vast spaces of possible results in a directed search, and they can be applied to supervise virtually any generative process, and hence operate on a metagenerative level. Based on nine years of work in the field, as composer, musician, researcher and developer, the author gives his view on how evolutionary algorithms can be used as creative tools in the compositional process, and shares his experiences of how these systems can be designed to work well, from a composer’s viewpoint. Their limitations, aesthetic implications and idiomatics are also discussed.
|
|
| 4. |
- Groth, Sanne Krogh
(författare)
-
Composers on Stage : Ambiguous authorship in contemporary music performance
- 2017
-
Ingår i: Contemporary Music Review. - : Informa UK Limited. - 0749-4467 .- 1477-2256. ; 35:6, s. 686-705
-
Tidskriftsartikel (refereegranskat)abstract
- In recent years, workflows within the field of contemporary classical music have changed drastically. Increasingly, composers are active in the process of creating and co-creating performances, not only the auditory dimensions but also the visual design and theatrical staging. The practice has recently been termed The New Discipline (Walshe, 2016). Of particular interest to the present article are composers of this practice taking part in the performance itself, not as professional musicians but involving themselves in other ways. The article explores the ambivalent authorship at stake in these performances, arguing that they appear to be projects that reveal the processes of musical performance in ways that undermine the Romantic idea of the composer while concurrently celebrating that very same idea through their exposition and staging of the composer. The examples used to illustrate my argument are analyses of All the Time (Hodkinson 2001), Buenos Aires (Steen-Andersen 2014) and Ord for Ord (Rønsholdt 2014).
|
|
| 5. |
- Hogg, Bennett, et al.
(författare)
-
'Patterns of Ecological and Aesthetic Co-evolution' : Tree-guitars, River-violins and the Ecology of Listening
- 2015
-
Ingår i: Contemporary Music Review. - : Informa UK Limited. - 0749-4467 .- 1477-2256. ; 34:4, s. 335-349
-
Tidskriftsartikel (refereegranskat)abstract
- The move 'outside' of the concert hall has repercussions for listening and creative practice beyond simply resituating 'music'. The building of an environmentally specific instrumentarium draws on in situ exploration and cultivation of affordances, but also on the embodied pre-existent knowledge of the artists concerned. A sense of space/place and strategies of listening work together both to situate emergent creative practices within a landscape and to take the affordances of that landscape, the instruments constructed there, and embodied musical experience forward into completed artistic and musical works.
|
|
| 6. |
- Rosenberg, Susanne, 1957-
(författare)
-
Improvising Folk Songs: : An Inclusive Indeterminacy
- 2021
-
Ingår i: Contemporary Music Review. - : Routledge. - 0749-4467 .- 1477-2256.
-
Tidskriftsartikel (refereegranskat)abstract
- Folk Song Lab uses interactive group sessions to explore different ways by which improvisation stimulates an attitude towards the song by which it is understood as a cognitive framework that is recreated by the singer in the performance moment. It takes its point of origin in certain conceptual qualities found in traditional folk song and improvisation, stimulated using flow-inducing concepts (Csikszentmihalyi 1990. Flow: The Psychology of Optimal Experience. New York: Harper Collins.) such as risk, mimicry, play and reorientation, and interpreted in musical terms and without written instructions. This empirical study uses particular developed improvisational methods reflecting traditional songs’ cognitive frames. The project raises questions regarding the influence of time in relation to how creativity and flow appear during improvising sessions. Some of the methods explored in the project, such as mirror singing, might be related to neuroscientific findings regarding the function of mirror-neurons, hence reflecting the possibilities for conceiving of human creativity in a collective way.
|
|
| 7. |
- Sundberg, Johan, et al.
(författare)
-
Rules for automated performance of ensemble music
- 1989
-
Ingår i: Contemporary Music Review. - 0749-4467 .- 1477-2256. ; 3, s. 89-109
-
Tidskriftsartikel (refereegranskat)abstract
- Recently developed parts of a computer program are presented that contain a rule system which automatically converts music scores to musical performance, and which, in a sense, can be regarded as a model of a musically gifted player. The development of the rule system has followed the analysis-by-synthesis strategy; various rules have been formulated according to the suggestions of a professional string quartet violinist and teacher of ensemble playing. The effects of various rules concerning synchronization and timing and also tuning, in performance of ensemble music are evaluated by a listening panel of professional musicians. Further support for the notion of melodic clzarge, previously introduced and playing a prominent rule in the performance rules, is found in a correlation with fine tuning of intervals.
|
|
| 8. |
- Östersjö, Stefan, 1967-
(författare)
-
Go To Hell : towards a gesture-based compositional practice
- 2016
-
Ingår i: Contemporary Music Review. - : Routledge. - 0749-4467 .- 1477-2256. ; 35:4-5, s. 475-499
-
Tidskriftsartikel (refereegranskat)abstract
- This paper discusses musical gesture from an understanding of musical perception as embodied and enactive, also drawing specifically on Denis Smalley’s [(2007). Space-form and the acousmatic image.Organised Sound,12(1), 35–58] analysis of performed space. I will provide examples of how choreographies (performed by musicians, with and without their instruments), new music (for Vietnamese and Western instruments), installations, and video art have all been drawn from analysis of gesture in Östersjö’s performance of the guitar compositionToccata Orpheusby Rolf Riehm [1990.Toccata Orpheus. Munich: Ricordi]. In Riehm’s piece, the bodily action of the performer is treated as an intentional compositional parameter and the notated structure thus generates a specific choreography in performance. InGo To Hell, this approach is taken further towards the development of a gesture-based compositional practice, where composition is understood, not as the organisation of sound objects, but as the structuring of gestural-sonic objects.
|
|
| 9. |
- Östersjö, Stefan
(författare)
-
Isolation Journal: Remote Interactions in the Time of the COVID-19 Pandemic
- 2024
-
Ingår i: Contemporary Music Review. - : Taylor & Francis. - 0749-4467 .- 1477-2256.
-
Tidskriftsartikel (refereegranskat)abstract
- This paper discusses the development of artistic collaboration during the global lockdown, related to the COVID-19 pandemic. The art work under study involves the author’s practices of ecological sound art and intercultural collaboration in collaboration with Canadian composer and improviser John Oliver. A primary outcome of this work was the album Isolation Journal, released in 2020, in the midst of the pandemic. One feature of Isolation Journal was how it revisited site-specific recordings made in Vietnam, on the countryside north of Hanoi, for an installation made by Östersjö in collaboration with Nguyễn Thanh Thủy and Matthew Sansom [Östersjö, Stefan, and Thanh Thủy Nguyễn. 2016. “The Sounds of Hanoi and the After-Image of the Homeland.” Journal of Sonic Studies 12. https://www.researchcatalogue.net/view/246523/246546]. Through remote interactions, and by building a complex sampler instrument using Östersjö's recordings of Aeolian đàn đáy, a traditional Vietnamese lute, as well as field recordings from the site, Oliver and Östersjö created the album Isolation Journal through remote interaction. This in turn became a fundamental building block when the author's Vietnamese/Swedish group The Six Tones took the initiative to develop a scene for telematic performance at Manzi Art Space in Hanoi. This series started out with a concert with John Oliver, The Six Tones and guest performers from Hanoi in July 2020. Building on audio and video documentation, as well as on qualitative interviews with the participating co-performers, an analysis of the emergence of discursive voice [Gorton, David, and Stefan Östersjö. 2019. “Austerity Measures I: Performing the Discursive Voice.” In Voices, Bodies, Practices: Performing Musical Subjectivities, edited by Catherine Laws, William Brooks, David Gorton, Nguyễn Thanh Thủy, Stefan Östersjö, and Jeremy J. Wells, 29–79. Orpheus Institute Series. Leuven: Leuven University Press] is drawn from these two internally linked artistic projects. The paper develops the analytical framework of tele-copresence, a synthesis of the contrasting concepts of telepresence and copresence, as a means for analysing the virtual presence which emerges through such remote musical interaction.
|
|
| 10. |
- Östersjö, Stefan
(författare)
-
The resistance of the Turkish makam and the habitus of a performer. Reflections on a collaborative CD-project with erdem helvaciolu
- 2013
-
Ingår i: Contemporary Music Review. - : Informa UK Limited. - 0749-4467 .- 1477-2256. ; 32:2-3, s. 201-213
-
Tidskriftsartikel (refereegranskat)abstract
- I will take a recent CD-project as point of departure, a collaboration with the Turkish composer and electronic musician Erdem Helvaciolu. We did a series of recording sessions in Istanbul in December 2009 for which we agreed to use the Turkish makam as common point of departure in all the pieces. In this paper I will discuss the resistance of this material and specifically the relation between the resistance and the habitus of a performer. In the sessions we agreed to approach the different makam by applying different scordaturas to the instruments. I will develop on the resistance of the instrument with regard to this phase, also looking back at Kent Olofsson's Il Liuto d'Orfeo.
|
|
