Computer Music Journal

doi: 10.1162/comj.a.17pmid: N/A

doi: 10.1162/comj.x.674pmid: N/A

doi: 10.1162/comj.a.18pmid: N/A

Corrêa, Antenor Ferreira

doi: 10.1162/comj.a.14pmid: N/A

Telichan-Phillips, Andrew

doi: 10.1162/comj.a.11pmid: N/A

This article investigates questions and concerns about the embedding of cultural and individual programmer biases into music programming languages (MPLs) and music software. A key contention is that MPLs and music software are extensions of natural language and thus inherit and transmit the cultural biases about music that are entrenched there, constraining one's potential to explore music beyond conventional norms. Recent research is cited that shows there are indeed such effects on users. The primary source of insight into these biases and effects, however, comes from interviews with the developers of such technologies as SuperCollider, ChucK, Max, and Kyma, whose responses constitute the bulk of this article. Although there is general agreement about the embedding and transmission of biases, the responses reveal different, compelling insights about this issue that should provide revelatory knowledge to developers and users of music technology alike. The interviews provide fertile ground for further reflection and analysis—especially about the need for greater openness in design and mutual exchange between developers and the communities they serve.

Oreggia, Eleonora

doi: 10.1162/comj.a.15pmid: N/A

This article describes a series of experiments and techniques for audiovisual performance composition using electromagnetic waves. These experiments represent the consecutive steps that led to the development of REBUS, a novel musical machine and interactive system that can be used to explore and expand upon contactless interaction techniques. Drawing on previous experience in designing simple synthesizers to transform light into sound, compositional systems that use invisible frequencies of the electromagnetic field were explored as both sonic material and interactive interfaces. A review and comparison of other sensing techniques is followed by a description of the potential of electromagnetic field sensing. Implementing state-of-the-art technology and using previously unexplored frequencies, REBUS is a novel digital computational instrument that creates a space where any subtle interaction is detected independently of external light or sound and where invisible affordances can be touched and manipulated with the hands and the body—almost as invisible strings.

Tovar-Henao, Felipe

doi: 10.1162/comj.a.12pmid: N/A

This article introduces bellplay∼, an open-source symbolic framework and software environment for algorithmically generating audio offline—that is, not in real time—originally developed for the realization of ludus vocalis, a 25-minute multimedia work for 8.1-channel audio and 4K video. bellplay∼ was leveraged to craft the entire audio component of the work, as well as to generate control data for automating visual parameters in TouchDesigner. The article begins with a contextual and conceptual overview of the development of bellplay∼, followed by a discussion of its software architecture, scripting language, and key functionalities. Its application in ludus vocalis is presented as a case study, and the article concludes by reflecting on its effectiveness as a pedagogical tool within a university-level course on computer-assisted algorithmic composition.

Feller, Ross

doi: 10.1162/comj.a.16pmid: N/A

doi: 10.1162/comj.r.13pmid: N/A