tag:blogger.com,1999:blog-6104939361140347282023-06-21T06:40:07.441+02:00The EAM librarianA blog about literature and web resources on electroacoustic music and sound artPär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.comBlogger197125tag:blogger.com,1999:blog-610493936114034728.post-46565427254375501982016-03-29T12:51:00.000+02:002016-03-29T12:51:53.815+02:00This blog is movingI'm in the process of moving and updating this blog.<br />
<br />
One of the reasons I started it was to report new acquisitions in the Elektronmusikstudion library. At that time, the catalogue was a simple FileMaker database. But EMS's library is now fully searchable in the catalogue of the Music- and theatre library of Sweden. Select Elektronmusikstudion EMS under Collection, for a list of all the books and records available: <a href="http://discover.musikverket.se/iii/encore/search/C__S*__Ff%3Afacetcollections%3A2%3A2%3AElektronmusikstudion%20EMS%3A%3A__Orightresult__U__X0?lang=eng&suite=gold" target="_blank">EMS library</a>. Almost all of the items are available for interlibrary loan in Sweden and internationally.<br />
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Another reason was to keep myself updated. However, my interest in blogging have waned lately, mainly because it's time consuming, so I'm not sure what will happen to "The EAM librarian" at its new location.Pär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.com0tag:blogger.com,1999:blog-610493936114034728.post-37325026814512852222015-04-06T09:53:00.002+02:002015-04-06T09:53:29.569+02:00Two interviews with Barry Vercoe<div>
The <a href="http://libraries.mit.edu/music-oral-history/" target="_blank">Music at MIT Oral History Collection</a> has two video interviews with Barry Vercoe of <a href="http://www.csounds.com/" target="_blank">Csound</a> fame dated <a href="http://libraries.mit.edu/music-oral-history/interviews/barry-vercoe-8192011/" target="_blank">August 19, 2011</a> and <a href="http://libraries.mit.edu/music-oral-history/interviews/barry-vercoe-4242012/" target="_blank">April 24, 2012</a>. They are also available as PDF transcriptions.</div>
Pär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.com0tag:blogger.com,1999:blog-610493936114034728.post-7568532665201478002014-07-30T13:51:00.003+02:002014-07-30T13:54:06.631+02:00Hz #19In the latest issue of <a href="http://www.hz-journal.org/" target="_blank">Fylkingen's journal Hz</a> you will find an article of mine, <a href="http://www.hz-journal.org/n19/johansson.html" target="_blank">Electronic music archives in the collection of The Swedish Performing Arts Agency</a>. It is a translation from the Swedish original (which contains a few more pictures) from <a href="http://musikverket.se/musikochteaterbiblioteket/files/2013/12/dokumenterat_45.pdf" target="_blank">Dokumenterat no. 45</a>. This text supersedes my earlier post on <a href="http://eamlibrarian.blogspot.se/2010/06/archive-of-ems-and-related-archives.html">Swedish EAM archives</a>, although the latter has some additional info.<br />
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Thanks to Sachiko Hayashi, the editor of Hz, who also contributes an article to this issue, <a href="http://www.hz-journal.org/n19/hayashi.html" target="_blank">A brief historical overview of Fylkingen's journals</a>. Thanks also to Isabel Thomson, who checked the translation.<br />
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The other articles in Hz #19 are:<br />
<ul>
<li>Martyn Hudson: <a href="http://www.hz-journal.org/n19/hudson.html" target="_blank">What, am i hearing light? Listening through Jean-Luc Nancy</a></li>
<li>Florian Cramer: <a href="http://www.hz-journal.org/n19/cramer.html" target="_blank">What is 'post-digital'?</a></li>
<li>Michael Betancourt: <a href="http://www.hz-journal.org/n19/betancourt.html" target="_blank">Critical glitches and glitch art</a></li>
<li>Edward Picot: <a href="http://www.hz-journal.org/n19/picot.html" target="_blank">Mixing it: 12 remixes by Michael Szpakowski</a></li>
<li>Laura Plana Gracia: <a href="http://www.hz-journal.org/n19/gracia.html" target="_blank">Landscapes {soundscapes: Dronestrikes on Saturn</a></li>
<li>Ben Grosser: <a href="http://www.hz-journal.org/n19/grosser.html" target="_blank">How the technological design of Facebook homogenizes identity and limits personal representation</a></li>
<li>Aymeric Mansoux: <a href="http://www.hz-journal.org/n19/mansoux.html" target="_blank">My lawyer is an artist: Free culture licenses as art manifesto</a></li>
<li>Robert Spahr: <a href="http://www.hz-journal.org/n19/spahr.html" target="_blank">Cruft: art from digital leftovers</a></li>
<li>Alan Sondheim: <a href="http://www.hz-journal.org/n19/sondheim.html" target="_blank">Outline for a talk on blank that can't be given</a></li>
<li>Kevin Logan: <a href="http://www.hz-journal.org/n19/logan.html" target="_blank">Rolling stones gets me no satisfaction</a></li>
<li>Gx Jupitter-Larsen: <a href="http://www.hz-journal.org/n19/larsen.html" target="_blank">Ordinarily nowhere</a></li>
</ul>
Pär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.com0tag:blogger.com,1999:blog-610493936114034728.post-777458933474187352014-06-15T07:56:00.002+02:002014-06-15T07:56:59.663+02:00Journals<cite><a href="http://www.ubu.com/emr/periodicals.html" target="_blank">Electronic Music Review</a></cite>, published in 1967-1968 and edited by Reynold Weidenaar and Robert Moog, is freely available at <a href="http://www.ubu.com/emr/periodicals.html" target="_blank">UbuWeb</a>. The entire issue 2-3 consists of Hugh Davies' <cite>Repertoire International des Musiques Electroacoustiques/International Electronic Music Catalog</cite>.<br />
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Brazilian electroacoustic music journal <cite><a href="http://linda.nmelindo.com/" target="_blank">Linda</a></cite> has released its <a href="http://linda.nmelindo.com/i-18-de-maio/" target="_blank">first bilingual edition</a>. Amongst other articles, it contains an interview with Swedish composers Jens Hedman and Eva Sidén.Pär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.com0tag:blogger.com,1999:blog-610493936114034728.post-68220954940463219242014-01-15T12:59:00.000+01:002014-01-15T13:04:07.786+01:00The Samson Box and other stuffThe <a href="http://www.mitpressjournals.org/toc/comj/37/3" target="_blank">latest issue of Computer Music Journal</a> is devoted to CCRMA's Samson Box real-time digital synthesizer, which was used in over 100 works from the late 1970s and early 1980s. One of them was the soundtrack to NASA's <i>Mars in 3D </i>film, which has been restored and released on Blu-ray recently. The score was composed by Michael McNabb and Bill Schottstaedt. There's an <a href="http://alumni.stanford.edu/get/page/magazine/article/?article_id=62897" target="_blank">article on the restoration process</a>, and the emulator used to recreate the Samson Box for the project is <a href="https://github.com/mmcnabb/sam" target="_blank">on GitHub</a>. The film is <a href="http://youtu.be/ubRHSg5daMs" target="_blank">available on Youtube</a>.<br />
<br />
I've written an article in Swedish on the archives related to EAM available at Statens musikverk (Music Development and Heritage Sweden). One can find it in <a href="http://statensmusikverk.se/musikochteaterbiblioteket/files/2013/12/dokumenterat_45.pdf" target="_blank">Dokumenterat, no. 45</a>. (There's also an older <a href="http://eamlibrarian.blogspot.se/2010/06/archive-of-ems-and-related-archives.html" target="">related blog post in English</a>.)<br />
<br />
Swedish composer Ragnar Grippe talks about his music from the <a href="http://www.ragnargrippe.com/Ragnar_Grippe/Grippe_about_his_music/Entries/2014/1/7_Ragnar_Grippe_about_his_music_-_the_70s.html" target="_blank">1970s</a>, <a href="http://www.ragnargrippe.com/Ragnar_Grippe/Grippe_about_his_music/Entries/2014/1/8_Ragnar_Grippe_about_his_music_-_the_80s.html" target="_blank">1980s</a>, <a href="http://www.ragnargrippe.com/Ragnar_Grippe/Grippe_about_his_music/Entries/2014/1/8_Ragnar_Grippe_about_his_music_-_the_90s.html" target="_blank">1990s</a>, <a href="http://www.ragnargrippe.com/Ragnar_Grippe/Grippe_about_his_music/Entries/2014/1/9_Ragnar_Grippe_about_his_music_-_the_00s.html" target="_blank">2000s</a> and the <a href="http://www.ragnargrippe.com/Ragnar_Grippe/Grippe_about_his_music/Entries/2014/1/13_Ragnar_Grippe_about_his_music_-_the_10s.html" target="_blank">2010s</a>.<br />
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Another <a href="http://www.soundofmusic.nu/artikel/%E2%80%9D-old-stone%E2%80%9D-memoriam-1936%E2%80%932013" target="_blank">Sten Hanson obituary</a> by Kristoffer Westin (in Swedish).<br />
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The <a href="http://smcnetwork.org/resources/smc2013" target="_blank">proceedings of SMC2013</a> (The Sound and Music Computing Conference, Stockholm 2013).<br />
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A <a href="http://www.ljudcentrum.lu.se/upload/lmc/cost_td804_ebook_2013.pdf" target="_blank">380-page report</a> from the EU project COST (Cooperation of Science and Technical Research) Action TD0804 Soundscape of European Cities and Landscapes. The COST Soundscape project involves cultural, social and psychological as well as scientific aspects. In the report's abstract, the researchers conclude:<br />
<blockquote class="tr_bq">
Reducing sound level, the focus of EU environmental noise policy, does not necessarily lead to improved quality of life in urban/rural areas, and a new multidisciplinary approach is essential. Soundscape research represents this paradigm shift as it involves not only physical measurements but also the cooperation of human/social sciences (e.g. psychology, sociology, architecture, anthropology, medicine), to account for the diversity of soundscapes across countries and cultures; and it considers environmental sounds as a 'resource' rather than a 'waste'.</blockquote>
<a href="http://www.musicainformatica.org/" target="_blank">Musicainformatica</a>, a computer music blog by Alex Di Nunzio.<br />
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<a href="http://HeavenEverywhere.com/TheBigMATBook" target="_blank">The Big MAT Book</a> by Steve Travis Pope, courseware for multimedia engineering and audio software and hardware.
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A <a href="http://marl.smusic.nyu.edu/wordpress/projects/feature-learning-deep-architectures/" target="_blank">tutorial in deep learning in music informatics</a>.Pär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.com0tag:blogger.com,1999:blog-610493936114034728.post-1323631348275371502013-11-10T13:54:00.001+01:002013-11-10T13:57:24.748+01:00Some linksR.I.P. <a href="http://snykradio.dk/ode-to-gravity-the-sound-poetry-of-sten-hanson/" target="_blank">Sten Hanson</a> (1946-2013), composer, performance artist and poet. Ulf Stenberg <a href="http://tidningenkulturen.se/artiklar/musik/musikens-portraett/16081-sten-hanson-in-memoriam-1936-2013" target="_blank">remembers Sten</a> in <a href="http://tidningenkulturen.se/" target="_blank">Tidningen Kulturen</a> (Swedish only).<br />
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<a href="http://en.flossmanuals.net/" target="_blank">Flossmanuals</a> has online manuals for <a href="http://en.flossmanuals.net/ardour/" target="_blank">Ardour</a>, <a href="http://en.flossmanuals.net/audacity/" target="_blank">Audacity</a>, <a href="http://en.flossmanuals.net/chuck/" target="_blank">Chuck</a>, <a href="http://en.flossmanuals.net/csound/" target="_blank">Csound</a>, <a href="http://en.flossmanuals.net/fluxus/" target="_blank">Fluxus</a>, and <a href="http://en.flossmanuals.net/pure-data/" target="_blank">Pure Data</a>.<br />
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<a href="http://www.fupress.net/index.php/mt/issue/view/961" target="_blank">Musica/Tecnologia's latest issue</a> is dedicated to the <a href="https://en.wikipedia.org/wiki/Phase_vocoder" target="_blank">phase vocoder</a>.<br />
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An I<a href="http://soundartarchive.net/" target="_blank">nternational Archive of Sound Art</a>.<br />
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The <a href="http://www.montrealsoundmap.com/" target="_blank">Montréal Sound Map</a>.<br />
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<a href="http://www.animations.physics.unsw.edu.au/waves-sound/" target="_blank">Sound and wave animations</a> from <a href="http://www.phys.unsw.edu.au/music" target="_blank">Music Science at UNSW</a>.<br />
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<div>
The <a href="https://ccrma.stanford.edu/marl/" target="_blank">Musical Acoustics Research Library (MARL)</a> contains digitised archive documents in musical acoustics. There are early papers and correspondence by James Beauchamp, Max Mathews, and Jean-Claude Risset, e.g. some documents pertaining to Rissets research on trumpet tones.</div>
Pär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.com0tag:blogger.com,1999:blog-610493936114034728.post-28946139191181125502013-05-22T09:24:00.003+02:002013-05-22T09:25:26.048+02:00Various stuffThe <a href="http://www.hz-journal.org/n18/index.html" target="_blank">new issue of Fylkingen's Hz journal (#18)</a> contains several articles on sound art and electroacoustic music.<br />
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<a href="http://www.arteeast.org/pages/artenews/uncollectable/" target="_blank">Uncollectable</a> - April 2013 issue of ArteEeast journal covers Middle Eastern sound art.<br />
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<a href="http://datagarden.org/" target="_blank">Data Garden</a> "is a journal, record label and events producer encouraging the discovery of electronic music through the windows of history, science and community."<br />
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<a href="http://www.kunstradio.at/" target="_blank">Kunstradio</a> - a Zürich sound art radio station.
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<br />
Le <a href="http://www.perceoreilles.net/" target="_blank">Perce-oreilles</a> - French sound art archive and web portal.Pär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.com0tag:blogger.com,1999:blog-610493936114034728.post-39826404767759773272013-04-13T10:47:00.002+02:002013-04-13T10:47:57.315+02:00MIR<div>
George Tzanetakis has uploaded a <a href="http://www.brainshark.com/brainshark/brainshark.net/portal/title.aspx?pid=zCZz12TSh9z0z0" target="_blank">30 minute presentation with an overview of music information retrieval (MIR)</a>. It contains a good introduction to Fourier analysis and STFT. (On the same site, there is also a 18 minute <a href="http://www.brainshark.com/brainshark/brainshark.net/portal/title.aspx?pid=zDPzZxASxz0z0" target="_blank">tutorial by Meinard Mueller on chroma features</a>.)</div>
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<br /></div>
<div>
Tzanetakis' presentation spawned a small discussion on the <a href="http://listes.ircam.fr/wws/info/music-ir" target="_blank">MUSIC-IR</a> list about the origins of the term MIR. The earliest use seems to have been at Princeton in the 1960s for a software package used in research on Josquin by Michael Kassler et al. (See <a href="http://www.jstor.org/stable/832213" target="_blank">Kassler, 1966, "Toward musical information retrieval", <i>Perspectives of new music</i>, vol. 4 (1966), no. 2, p. 59-67</a>).</div>
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<br /></div>
<div>
Before <a href="http://www.ismir.net/texts/Byrd02.html" target="_blank">ISMIR started in 2000</a>, some of the work on MIR was published in <i>Computer music journal</i> and the <a href="http://quod.lib.umich.edu/i/icmc/" target="_blank">International Computer Music Conference proceedings</a> (a <a href="http://quod.lib.umich.edu/cgi/t/text/text-idx?type=simple&c=icmc&rgn=full+text&q1=retrieval" target="_blank">search for retrieval</a> results in about 370 matching papers from 1975 onward).</div>
Pär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.com0tag:blogger.com,1999:blog-610493936114034728.post-58992482300979551052013-03-29T18:26:00.001+01:002013-04-13T09:51:36.003+02:00Some online journals etc.<a href="http://www.experimentalmusicyearbook.com/" target="_blank">The Experimental Music Yearbook</a> "is a repository for composers, performers, and the public to glean the methods and styles of various artists working in the experimental music tradition".<div>
<br /><a href="http://surround.noquam.com/" target="_blank">Surround</a> journal.</div>
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<br /><a href="http://www.act.uni-bayreuth.de/en/archiv/201204/index.html" target="_blank">Ars Acustica – Audio Art – Klangkunst</a>. Issue 4 (October 2012) of <i>Act. Zeitschrift für Musik & Performance.</i></div>
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<i><br /></i><a href="http://www.pfau-verlag.de/shop_detail/27405.html" target="_blank">Electroacoustic Music and Selected Concepts of Radio Art</a>. Free e-book by Michal Rataj.<ul>
</ul>
</div>
Pär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.com0tag:blogger.com,1999:blog-610493936114034728.post-11855125720423611402013-02-03T09:52:00.004+01:002013-02-03T09:52:52.027+01:00Call for papers: Journal of New Music Research - Special Issue on Music and Machine LearningMachine learning has permeated nearly every area of music informatics, driven by a renewed interest in computational musicology, vast sources of music in digital audio formats, the steady increase in size and availability of symbolic corpora, and advances in semantic annotation of large audio collections.<br />
<br />
To provide a collection of the highest quality contemporary work in machine learning and music, the Journal of New Music Research will host its second Special Issue on Music and Machine Learning.<br />
<br />
Guest Editors: Darrell Conklin, José Manuel Iñesta, Rafel Ramirez<br />
<br />
The manuscript submission deadline is <b>July 1, 2013</b>. Full details of the Call for Papers can be found at the following web page:<br />
<br />
<a href="http://www.ehu.es/cs-ikerbasque/conklin/jnmr14.html" target="_blank">http://www.ehu.es/cs-ikerbasque/conklin/jnmr14.html</a>
Pär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.com0tag:blogger.com,1999:blog-610493936114034728.post-45615562122956191432013-01-06T17:27:00.003+01:002013-01-06T17:28:54.271+01:00Sound art in Kunstjournalen B-postThe latest issue of <a href="http://www.kunstjournalen.no/" target="_blank">Kunstjournalen B-post</a>, a Norwegian magazine on contemporary art, is devoted to sound and sound art. Most of the texts are available both in <a href="http://www.kunstjournalen.no/12" target="_blank">scandinavian languages</a> and <a href="http://www.kunstjournalen.no/12_eng/" target="_blank">english</a>.<br />
<br />
The contributors are Anne Marthe Dyvi, Espen Sommer Eide, Mahlet Ogbe Habte, Carl Michael von Hausswolff, Brandon LaBelle, Jørgen Larsson, Sissel Lillebostad, Trond Lossius, Nicholas Møllerhaug, Anne Hilde Neset, María Andueza Olmedo, Finnbogi Petursson, Carsten Seiffarth, Karen Skog, Roar Sletteland, Maia Urstad and Jana Winderen.Pär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.com0tag:blogger.com,1999:blog-610493936114034728.post-14012721051011699282012-11-23T18:23:00.001+01:002012-11-23T18:23:44.584+01:00Call for Submissions - CMJ Special Issue: “Advances in the Design of Mapping for Computer Music”Guest Editors: Marcelo M. Wanderley and Joseph Malloch<br /> <div>
When we use digital tools for making music, the properties and parameters of both sound synthesizers and human interfaces have an abstract representation. One consequence of the digital nature of these signals and states is that gesture and action are completely separable from sound production, and must be artificially associated by the system designer in a process commonly called mapping.<br /><br />The importance of mapping in digital musical instruments has been studied since the early 1990s, with several works discussing the role of mapping and many related concepts. Since roughly the mid-2000s, several tools have been proposed to facilitate the implementation of mappings, drastically reducing the necessary technical knowledge and allowing a large community to easily implement their ideas. Coupled with the availability of inexpensive sensors and hardware, as well as the emergence of a strong Do-It-Yourself community, the time seems right to discuss the main directions for research on mapping in digital musical instruments and interactive systems.<br /></div>
<div>
This call for submissions for a special issue of the Computer Music Journal focuses on recent developments and future prospects of mapping.<br /></div>
<div>
Relevant topics include, but are not limited to:<br /><ul>
<li>Mapping in instrument/installation/interaction design</li>
<li>Mapping concepts and approaches</li>
<li>Mapping tools</li>
<li>Evaluation methodologies</li>
<li>Mapping in/as composition</li>
<li>Mapping for media other than, or in addition to, sound</li>
</ul>
Deadline for paper submission is <b>March 15, 2013</b>. The issue will appear in 2014.<br /><br />Submissions should follow all CMJ author guidelines (<a href="http://www.mitpressjournals.org/page/sub/comj" target="_blank">http://www.mitpressjournals.org/page/sub/comj</a>).<br /><br />Submissions and queries should be addressed to marcelo.wanderley(a)mcgill.ca, with the subject starting with [CMJ Mapping]</div>
Pär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.com0tag:blogger.com,1999:blog-610493936114034728.post-38173142460845261512012-10-10T13:06:00.000+02:002013-01-06T17:27:53.821+01:00eOREMA journal call"The eOREMA journal is a peer-reviewed scholarly arm of the OREMA (Online Repository for Electroacoustic Music Analysis) project (<a href="http://www.orema.dmu.ac.uk/" target="_blank">www.orema.dmu.ac.uk</a>) that focuses on the analysis of electroacoustic music. The eOREMA journal will be an open access publication platform that accepts both articles that discuss analytical methodologies and analyses of electroacoustic music compositions in the broadest sense (which can range from acousmatic music to installations and electronica). We encourage both new and established researchers to contribute."<br />
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Deadline for paper submissions: <b><strike>Friday 4th of January 2013</strike></b>. <a href="http://www.orema.dmu.ac.uk/?q=content/eorema-journal-call" target="_blank">More info</a>Pär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.com0tag:blogger.com,1999:blog-610493936114034728.post-17483958579308921392012-10-04T13:22:00.000+02:002012-10-04T13:22:45.883+02:00New books and CDs in EMS' libraryMany thanks to <a href="http://www.dtic.upf.edu/~alewin/" target="_blank">Andrés Lewin-Richter</a> who has donated 21 CDs with Spanish contemporary and electroacoustic music to <a href="http://www.elektronmusikstudion.se/library-and-archives/" target="_blank">EMS' library</a>:<br />
<ul>
<li><i>Foro de comunicaciones electroacústicas. Vol II-III</i></li>
<li><i>ICMC 2005 : free sound</i></li>
<li>Balsach, Llorenç: <i>Música concreta</i></li>
<li>Berenguer, José Manuel: <i>On nothing</i> </li>
<li>Brnčić, Gabriel: Barcelona: <i>Músiques 1974-2011, <i>Gabriel Brnčić </i></i></li>
<li>Callejo, Lluís: <i>Lluís Callejo</i></li>
<li>Capdevila, Mercè: <i>Zas : música vertical</i></li>
<li>Elvira, Julián: <i>Obres per a flauta i electrònica</i></li>
<li>Ferrer, Carlos: <i>Gil Obres per a trombó i electrònica</i></li>
<li>Giner, Xelo: <i>Obres per a saxòfon i electrònica</i></li>
<li>Iglesias, Lito: <i>Obres per a violoncel i electrònica</i></li>
<li>Jara, Jesús: <i>Obres per a tuba i electrònica</i></li>
<li>Lewin-Richter, Andrés: <i>Andrés Lewin-Richter 1-2</i></li>
<li>Padrós, David: <i>Jo-ha-kyu</i></li>
<li>Parra, Hector: <i>L’aube assaillie : música de cambra</i></li>
<li>Quadreny, Mestres: <i>L’estro aleatorio</i></li>
<li>Ribera Torres, Manel: <i>El món d’Ulisses</i></li>
<li>Rossinyol, Jordi: <i>Lapsus : música de cambra</i></li>
</ul>
It's been a while since I reported new stuff, so many of the items below
aren't really new anymore. Please note that many of our books (and a
few CDs/DVDs) are <a href="http://katalog.muslib.se/wsHitList.Asp?sString=oh=%22EMS%22&cclsearch=1" target="_blank">available in the Music and theatre library catalogue</a>. If you don't live in Stockholm, you can borrow an EMS book as an interlibrary loan ("fjärrlån", ask your local library).<br />
<br />
<b>New books</b><br />
<ul>
<li><i>Black fat soil = Svart fet jord</i></li>
<li><i>Harmony and tonality : papers given at a seminar organized by the Music Acoustics Committee of the Royal Swedish Academy of Music</i></li>
<li><i>OEI nr 55 2011 : on tape</i></li>
<li><i>Kommentare zur neuen Musik, 1</i></li>
<li>Ackerfeldt, Carl: <i>Depeche Mode : världens mest originella band?</i></li>
<li>Agostini, Luigi: <i>Creating soundscapes</i></li>
<li>Aikin, Jim: <i>Csound power! : the comprehensive guide</i></li>
<li>Anderberg, Carl-Olof: <i>Hän mot en ljudkonst</i></li>
<li>Andersson, Kent: <i>Tendenser inom den moderna musikelektronikkulturen</i></li>
<li>Arrhenius, Sara & Bergh, Magnus: <i>Resan till månen = A trip to the moon</i></li>
<li>Asplund, Pär: <i>Analoga modulära synthesizers : diskussioner kring design</i></li>
<li>Bijsterveld, Karin & Dijck, José van (ed.): <i>Sound souvenirs : audio technologies, memory and cultural practices</i></li>
<li>Breatnach, Mary: <i>Boulez and Mallarmé : a study in poetic influence</i></li>
<li>Bucht, Gunnar: <i>Född på Krigsstigen : minnesbilder, människor, musik</i></li>
<li>Butler, Mark J. (ed.): <i>Electronica, dance and club music</i></li>
<li>Clarke, Eric F. & Emmerson, Simon (ed.): <i>Music, mind and structure</i></li>
<li>Crook, Tim: <i>Radio drama : theory and practice</i></li>
<li>Danchev, Alex (ed.): <i>100 artists' manifestos</i></li>
<li>Documenta (13 : 2012 : Kassel, Germany): <i>Das Begleitbuch = The guidebook</i></li>
<li>Dolk, Kalle & Ottem, Bernt Johan: <i>Musik & data</i></li>
<li>Duncan, John: <i>John Duncan : Los Angeles, Tokyo, Amsterdam, Scrutto</i> </li>
<li>Electroacoustic Music Studies Conference: <i>Sforzando! : June 14-18, 2011, New York City</i></li>
<li>Eriksson, Michael: <i>Jean-Michel Jarre : musiken 1976-1986</i></li>
<li>Eriksson, Michael: <i>Play it again, SID : datorspelsmusiken för Commodore 64</i></li>
<li>Escrivan Rincón, Julio d': <i>Music technology</i></li>
<li>Freedman, Camilla: <i>Elektronmusikprojektet på Kärsbyskolan : 1986-1989</i></li>
<li>Grundmann, Heidi: <i>Re-inventing radio : aspects of radio as art</i></li>
<li>Gärdenfors, Dan: <i>Towards musical hypermedia : an investigation of the possibilities of non-sequential music</i></li>
<li>Hambraeus, Bengt: <i>Aspects of twentieth century performance practice : memories and reflections</i></li>
<li>Hansson, Olof: <i>Efva Lilja och musiken : en studie av Efva Liljas arbete med musik och tonsättare i produktionen Byen Viso</i></li>
<li>Harper, Adam: <i>Infinite music : imagining the next millennium of human music-making</i></li>
<li>Hein, Folkmar & Seelig, Thomas: <i>Internationale Dokumentation elektroakustischer Musik = International documentation of electroacoustic music</i></li>
<li>Holmes, Thom: <i>Electronic and experimental music : technology, music, and culture (4th ed.)</i></li>
<li>Kiefer, Peter (ed.): <i>Klangräume der Kunst</i></li>
<li>Klanten, Robert ; Ehmann, Sven & Hanschke, Verena: <i>A touch of code : interactive installations and experiences</i></li>
<li>LaBelle, Brandon & Martinho, Cláudia (ed.): <i>Site of sound #2 : of architecture and the ear</i></li>
<li>LaBelle, Brandon & Migone, Christof (ed.): <i>Writing aloud : the sonics of language</i></li>
<li>Lidbo, Håkan & Lidbo, Johan: <i>Spelskalle : 60 spel med vardagslivet som insats</i></li>
<li>Machado, Penousal ; Romero, Juan & Carballal, Adrian (ed.): <i>Evolutionary and Biologically Inspired Music, Sound, Art and Design : First International Conference, EvoMUSART 2012. Proceedings</i></li>
<li>McAdams, Stephen: <i>Music and psychology : a mutual regard</i></li>
<li>Migone, Christof: <i>Christof Migone : sound voice perform</i></li>
<li>Millroth, Thomas: <i>Man får förlora sig</i></li>
<li>Museum of Contemporary Art Roskilde: <i>Simple interactions : sound art from Japan : September 24th - December 18th 2011</i></li>
<li>Nordeson, Kjell: <i>Cage och Fylkingen</i></li>
<li>Nylén, Magnus: <i>Fluxus och den experimentella musiken</i></li>
<li>Nyström, Lars-Olof: <i>Digital kreativitet : bland låtskrivare, digitala pirater, tonsättare, hemstudiopulare, musiker, kompositörer och deras maskiner</i></li>
<li>Olofsson, Charlie (ed.): <i>Musik och genus : röster om normer, hierarkier och förändring</i></li>
<li>Olofsson, Martin: <i>De futuristiska musikerna och Einstürzende Neubauten : en jämförelse av bullerestetik</i></li>
<li>Olsson, Erik: <i>David Tudor och kompositörens nya roller</i></li>
<li>Paulsson, Johanna: <i>Avantgardistisk musik & äcklandets estetik : en musiksociologiskt inriktad studie av de provokativa dragen hos Throbbing Gristle</i></li>
<li>Perle, George: <i>Serial composition and atonality : an introduction to the music of Schoenberg, Berg, and Webern</i></li>
<li>Perrine, Jake: <i>Producing music with Ableton Live 8</i></li>
<li>Perrine, Jake: <i>Sound design, mixing, and mastering with Ableton Live</i></li>
<li>Peters Deniz ; Eckel, Gerhard & Dorschel, Andreas (ed.): <i>Bodily expression in electronic music : perspectives on reclaiming performativity</i></li>
<li>Ptak, Anna (ed.): <i>Re-tooling residences : a closer look at the mobility of art professionals</i></li>
<li>Schafer, R. Murray: <i>The new soundscape : a handbook for the modern music teacher</i></li>
<li>Schnupp, Jan ; Nelken, Israel & King, Andrew: <i>Auditory neuroscience : making sense of sound</i></li>
<li>Stockhausen, Karlheinz: <i>Texte ... Bd 1-4</i></li>
<li>Stravinskij, Igor & Craft, Robert: <i>Samtal med Stravinskij. 2 </i></li>
<li>Strohecker, Nino: <i>Victims : a film</i></li>
<li>Sverige. Utredningen om en nationell musikplattform: <i>I samspel med musiklivet : en ny nationell plattform för musiken : slutbetänkande</i></li>
<li>Ternhag, Gunnar & Wingstedt, Johnny: <i>På tal om musikproduktion : elva bidrag till ett nytt kunskapsområde</i></li>
<li>Thomas, Ernst (ed.): <i>Darmstädter Beiträge zur Neuen Musik 1961</i></li>
<li>Thyrén, David: <i>Brian Eno : en undersökning av Enos musik</i></li>
<li>Törnblom, Folke H.: <i>Att läsa partitur</i></li>
<li>Zorn, John (ed.): <i>Arcana V : music, magic and mysticism </i></li>
</ul>
<b>New CDs and DVDs</b><br />
<ul>
<li><i>Cache 2005</i></li>
<li><i>Cache 2006</i></li>
<li><i>Computer music journal : sound and video anthology. Volume 35, 2011</i></li>
<li>Cage, John: <i>Variations VII (9 evenings : theatre and engineering)</i></li>
<li>Petersson, Mattias: <i>Floodlight</i></li>
<li>Rauschenberg, Robert: <i>Open score (9 evenings : theatre and engineering)</i></li>
<li>Tudor, David: <i>Bandoneon ! : (a combine) (9 evenings : theatre and engineering)</i></li>
</ul>
(The full catalogue can be found here: <a href="http://www.elektronmusikstudion.se/library-and-archives/" target="_blank">http://www.elektronmusikstudion.se/library-and-archives/</a>.) Pär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.com0tag:blogger.com,1999:blog-610493936114034728.post-73866582425161994452012-09-27T23:13:00.000+02:002012-09-27T23:14:12.284+02:00Two online archives<a href="http://noise-arch.net/" target="_blank">noise-arch.net</a> - a collection of experimental music released on cassette during the 80s and 90s.<br />
<br />
<a href="http://www.ica.org.uk/projects/soundworks/" target="_blank">ICA Soundworks</a> - really an <a href="http://www.ica.org.uk/32839/Exhibitions/SOUNDWORKS.html" target="_blank">online exhibition</a> of sound art.Pär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.com0tag:blogger.com,1999:blog-610493936114034728.post-22595008092288748172012-09-02T13:20:00.002+02:002012-09-02T13:20:36.901+02:00ICMC proceedings onlineThanks to a collaboration with the University of Michigan Library, the International Computer Music Conference proceedings from 1975 onward are now <a href="http://quod.lib.umich.edu/i/icmc/" target="_blank">available online</a>. The articles are full text searchable.Pär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.com0tag:blogger.com,1999:blog-610493936114034728.post-2405195991019099292012-07-23T09:17:00.000+02:002012-07-23T09:17:30.473+02:00Algorithmic.net<a href="http://algorithmic.net/" target="_blank">Algorithmic.net</a> by Christopher Ariza is a "comprehensive research resource for computer aided algorithmic music composition, including over one-thousand research listings, over one hundred system listings, cross referenced links to research, links to software downloads and documentation, and web-based tools for searching and filtering the complete lexicon."Pär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.com0tag:blogger.com,1999:blog-610493936114034728.post-75143161992739601612012-07-23T09:10:00.001+02:002012-07-23T09:20:02.005+02:00European Sound Studies Organisation founded<a href="http://www.soundstudies.eu/" target="_blank">ESSA, the European Sound Studies Organisation</a>, was founded on Friday, July 14 2012. The aim is to provide an international, interdisciplinary and interprofessional organization for promoting the study of sound by providing a forum for knowledge exchange, for conferences, for research encouragement and development of projects, and for information. Membership is currently free, but an annual fee will be charged eventually.<br />
<br />
There are three open access journals affiliated with ESSA: <a href="http://www.soundeffects.dk/" target="_blank">Soundeffects</a>, <a href="http://sonicstudies.org/about" target="_blank">Journal of sonic studies</a>, and <a href="http://www.interferencejournal.com/" target="_blank">Interference</a>, which I've <a href="http://eamlibrarian.blogspot.se/2010/09/new-online-journal-interference-calls.html">mentioned</a> before.Pär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.com0tag:blogger.com,1999:blog-610493936114034728.post-91571149501144762012-07-23T08:51:00.000+02:002012-07-23T09:18:39.092+02:00Call for projects 2013-2014: IRCAM Musical Research Residency ProgramThe fourth edition of IRCAM's Musical Research Residency program is now open for online submissions for the 2013-2014 school calendar. IRCAM (Institute for Research and Coordination in Acoustics and Music) offers experimental environments where composers/artists strive to expand their artistic experience at one end, and scientists aim at extending research and technological paradigms for new artistic expressions. Such interactive process is called Musical Research.<br />
<br />
For its fourth edition, IRCAM and the INEDIT Project partners are inviting composers and artists to submit projects for the 2013-2014 Musical Research Residency program. The program is open to international artists, regardless of age or nationality, who wish to carry experimental research using Ircam's and partners’ facilities and extensive research environment. Submission is online only and an international panel of experts including researchers, composers, computer musicians and artists will evaluate each project. Upon nomination, each candidate will be granted a residency at Ircam during a specific period (three or six months) and in association with a team/project at Ircam. In addition, laureates receive an equivalent of 1200 Euros per month to cover expenses in France.<br />
<br />
Submission Deadline: <b>September 30, 2012</b><br />
Details and submission procedure:<br />
<a href="http://www.ircam.fr/875.html?L=1" target="_blank">http://www.ircam.fr/875.html?L=1</a><br />
<a href="http://www.ulysses-network.eu/web/competitions/residency2012/" target="_blank">http://www.ulysses-network.eu/web/competitions/residency2012/</a><br />
<br />
<span class="Apple-style-span" style="font-size: x-small;"><i>(Via <a href="http://listes.ircam.fr/wws/info/music-ir" target="_blank">Music-IR list</a>)</i></span>Pär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.com0tag:blogger.com,1999:blog-610493936114034728.post-30451916995220120132012-06-30T22:32:00.000+02:002012-06-30T22:32:58.925+02:00Female sound art in Terz Magazin<a href="http://terz.cc/magazin.php?z=2&r=204" target="_blank">Terz Magazin</a> has some articles on women in sound art and electroacoustic music: <a href="http://terz.cc/magazin.php?z=204&id=205" target="_blank">Lauren Redhead</a> on British artists Caroline Lucas, Lauren Sarah Hayes, Claire M. Singer, and Karen Lauke, <a href="http://terz.cc/magazin.php?z=204&id=206" target="_blank">Michaela Graf</a> on sexuality and sound art, <a href="http://terz.cc/magazin.php?z=204&id=207" target="_blank">Sabrina Peña Young</a> on Pauline Oliveros, Maggi Payne, Alice Shields, Adina Izarra, Brenda Hutchinson, Annea Lockwood and Elainie Lillios, and finally Julia Gerlach on Maryanne Amacher, Oliveros, Eliane Radigue, Christina Kubisch, Kaffe Matthews and Hanna Hartmann. There are also features on <a href="http://terz.cc/magazin.php?z=2&r=203" target="_blank">Mia Zabelka</a> and <a href="http://terz.cc/magazin.php?z=2&r=133" target="_blank">Katharina Klement</a>.Pär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.com0tag:blogger.com,1999:blog-610493936114034728.post-57655950447916204612012-06-13T21:11:00.000+02:002012-06-13T21:11:14.168+02:00DREAM<a href="http://dream.dei.unipd.it/" target="_blank">DREAM</a>, Digital Re-Working Re-Appropriation of Electro-Acoustic Music, is<br />
<blockquote class="tr_bq">
"a EU funded project aimed at preserving, reconstructing, and exhibiting the devices and the music of the Studio di Fonologia Musicale di Milano della Rai. During the 1950s and 1960s, this was one of the leading places in Europe for the production of electro-acustic music, together with Paris and Cologne.<br />
<br />
During the project, part of the equipment of the Studio (oscillators and non-linear filters) has been virtually reconstructed and will become part of the permanent exhibit at the Museum of Musical Instruments in Milan. Some of these devices were used by Belgian composer Henri Pousseur to compose Scambi, one of the very first examples of open forms in music. The history of the Studio and the main project results have been published in the book The Studio di Fonologia - A Musical Journey (Ricordi, 2012)."</blockquote>
I hardly need mention that the Studio di Fonologia was the place where Berio, Maderna and Nono created their early electronic works. It seems that the book hasn't been released yet, but there's an earlier <a href="http://www.ricordi.it/catalogue/products/lo-studio-di-fonologia/" target="_blank">Italian version</a> available at the Ricordi website.Pär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.com0tag:blogger.com,1999:blog-610493936114034728.post-34983477295861425272012-05-10T21:05:00.001+02:002012-05-14T16:42:05.391+02:00More random stuff<a href="http://the-open-space.org/" target="_blank">Open space publications</a> and <a href="http://the-open-space.org/open-space-magazine/" target="_blank">magazine</a>.<br />
<br />
<a href="http://www.doornbusch.net/chronology/" target="_blank">A chronology / history of electronic and computer music and related events 1906 - 2012</a> by Paul Doornbusch.<br />
<br />
<a href="http://logiciels.pierrecouprie.fr/?page_id=402" target="_blank">EAnalysis</a> (beta version) - a tool for the analysis of electroacoustic music, to be presented at the <a href="http://www.ems-network.org/ems12/" target="_blank">EMS conference in Stockholm</a>.<br />
<br />
<a href="http://www.aes.org/historical/oral/?ID=85" target="_blank">AES oral history #85</a> - John Chowning on the origins of FM synthesis (lots of other interesting clips too). <br />
<br />
<a href="http://drops.dagstuhl.de/portals/dfu/index.php?semnr=12002" target="_blank">Multimodal music processing</a> - a free online book edited by Meinard Müller, Masataka Goto and Markus Schedl.Pär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.com0tag:blogger.com,1999:blog-610493936114034728.post-40560958173647161552012-04-26T18:00:00.001+02:002012-04-26T18:06:04.783+02:00New issue of Hz, #17<a href="http://www.hz-journal.org/n17/brush.html" target="_blank">DYNAMIC PERFORMANCE OF NATURE: AUGMENTING ENVIRONMENTAL PERCEPTION THROUGH SOCIAL MEDIA AND ARCHITECTURAL INFORMATICS</a><br />
by BRIAN W. BRUSH, YONG JU LEE & NOA YOUNSE<br />
<i>Dynamic Performance of Nature</i> is a permanent architectural media installation in the Leonardo Museum located in Salt Lake City, Utah. It intends to augment environmental perception in museum visitors by communicating global environmental information through a dynamic and interactive interface, facilitated by social media, and embedded in the material of a high-tech media wall.
<br />
<br />
<a href="http://www.hz-journal.org/n17/swack.html" target="_blank">FEELTRACE AND THE EMOTIONS (AFTER CHARLES DARWIN)</a><br />
by DEBRA SWACK<br />
<i>The Emotions</i> is a multi-channel photographic, possibly interactive, video done in collaboration with the Brain Mind Institute in Switzerland about the universality of emotions on a biological level and the potential for futuristic misuse through genetic and or technological modification. Genetically emotionally or otherwise enhanced individuals could become the fashionable norm; synthetic biology could replace plastic surgery, with the further complication of not knowing where those genetic modifications might take them as individuals or us as a species.
<br />
<br />
<a href="http://www.hz-journal.org/n17/jansson.html" target="_blank">FROM PLAINTEXT PLAYERS TO AVATAR ACTORS: A SHORT SURVEY OF ONLINE GAMING PERFORMANCE</a><br />
by MATHIAS JANSSON<br />
Online performance started in the early text based systems as MOO, MUD and chat rooms and have followed the technology development into 3D online worlds. Joseph Delappe, Eva and Franco Mattes, Rainey Straus and Katherine Isbister are some examples of artists who are today making performance in these new digitals worlds.<br />
<br />
<a href="http://www.hz-journal.org/n17/berdugo.html" target="_blank">EMERGENCE IN THE SOCIAL WEB</a><br />
by LIAT BERDUGO<br />
With emergence theory - in ant colonies, cities, and brains - the whole is more than the sum of its parts. Something new is happening online, where a collective consciousness seems to emerge from the social web, giving rise to emergent phenomena like memes, the Occupy Movement, and the hacker collective Anonymous.
<br />
<br />
<a href="http://www.hz-journal.org/n17/clay1.html" target="_blank">A STEP BACKWARDS FOR A LEAP FORWARD: THE OFF LABEL FESTIVAL / DIGITAL ART WEEKS 2011</a><br />
by ART CLAY<br />
The OFF Label Festival is the brainchild of the Digital Arts International Network group in collaboration with host institutes around the world. Wary of the present New Media movement in the arts and the academic environment upon which many "New Media Art Festivals" and "Science and Art" fusion events depend, the DAW moved this year's edition into more diverse and eclectic waters and targeted a more general audience by focusing on analogue arts, mixed-media art forms, and by introducing the element of spirituality.<br />
<br />
<a href="http://www.hz-journal.org/n17/clay2.html" target="_blank">THE BOOK OF STAMPS: TRAVEL GUIDE FOR SONIC LANDSCAPING FROM CITIES TO URBAN CULTURES</a><br />
by ART CLAY<br />
<i>The Book of Stamps</i> is a travel guide between sonic landscapes from cities to urban cultures. The sheets of the book provide a "recording surface" and the ink stamps with their various patterns provide the ability to place sounds into the book. Together they act as an interactive tangible interface for a variety of time based musical tasks that form a collaborative composition by its users.
<br />
<br />
<a href="http://www.hz-journal.org/n17/gwiazda.html" target="_blank">THEMUSICOFTHEFUTUREISNTMUSIC</a><br />
by HENRY GWIAZDA<br />
"What is music today anyway? Is it still organized sound? Or is it evolving into something else? Perhaps music is not only sound. Perhaps artists choose a medium to work in because it enables them to present their ideas reflecting how they view time?" Video artist and composer Henry Gwiazda discusses his artistic progression from music/sound to what he describes as "multimedia digital choreography" and questions what the music of the future might look/sound like.
<br />
<br />
<a href="http://www.hz-journal.org/n17/schleser.html" target="_blank">VISUAL RHYTHMS</a><br />
by SIMON LONGO & MAX SCHLESER<br />
<i>Visual Rhythms</i> is a collaborative project between Simon Longo and Max Schleser. The article explores the transversal synergy between sound and video, placing the Bergsonian concept of intuition at the basis of the creative discovery in the live performance, which materialises into a temporal AV experience during this artistic intervention.
<br />
<br />
<a href="http://www.hz-journal.org/n17/perini.html" target="_blank">CLICK FOR DETAILS, A SOUND AND LIGHT INSTALLATION</a><br />
by ALESSANDRO PERINI<br />
The core of the sound and light installation <i>Click for Details</i> is a looped 4- channels electronic music track, entirely produced using a single impulse (mathematically a Dirac delta, also called "click" or "glitch") as the only source for the whole piece. Departing from the the traditional dualism of sound and visuals as a combination of two different levels of perception, the work intends to provide the audience with an experience of sound and light as two aspects of a sole entity, related to the same source.
<br />
<br />
<a href="http://www.hz-journal.org/n17/campanelli.html" target="_blank">VERTIGO OF THE TECHNOLOGICAL SUBLIME</a><br />
by VITO CAMPANELLI<br />
This essay of Campanelli explores a deeper reflection on <i>Abstract Journeys</i>, the most recent artwork by the Italian artist Marco Cadioli. <i>Abstract Journeys</i> consists of a series of screencapture video and images from Google Earth whose different surfaces and forms have been transformed by human activities in an abstract geometric compositions.Pär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.com0tag:blogger.com,1999:blog-610493936114034728.post-11336687460702154572012-04-06T21:16:00.002+02:002012-04-06T21:18:08.666+02:00Random stuff<a href="http://www.cyndustries.com/synapse/intro.cfm" target="_blank">Synapse magazine</a> - electronic music from the 70s.<br />
<br />
<a href="http://wybcs.blogspot.se/" target="_blank">WYBCS</a> - Swedish Internet radio.Pär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.com0tag:blogger.com,1999:blog-610493936114034728.post-53356276027614661932012-04-03T07:09:00.000+02:002012-04-03T07:11:32.070+02:00Sound and Music Computing Sweden proceedingsThe <a href="http://smcsweden.se/proceedings/SMCSweden2012_Proceedings.pdf" target="_blank">proceedings</a> from the <a href="http://smcsweden.se/" target="_blank">Sound and Music Computing Sweden conference</a> is now available. There's also a a link to a <a href="http://bambuser.com/channel/SMCSweden" target="_blank">live broadcast</a>.<br />
<br />
Twitter: <a href="http://twitter.com/#%21/search/realtime/%23SMCSweden%20" target="_blank">#SMCSweden</a>Pär Johanssonhttp://www.blogger.com/profile/10192810940556292934noreply@blogger.com0