December 01 2020 LMJ30 Audio Tracklist Andy Meyerson Andy Meyerson Search for other works by this author on: This Site Google Scholar Author and Article Information Andy Meyerson Online Issn: 1531-4812 Print Issn: 0961-1215 ©2020 ISAST2020ISAST Leonardo Music Journal (2020) 30: 119. https://doi.org/10.1162/lmj_a_01104 Cite Icon Cite Permissions Share Icon Share Twitter LinkedIn Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Andy Meyerson; LMJ30 Audio Tracklist. Leonardo Music Journal 2020; 30 119. doi: https://doi.org/10.1162/lmj_a_01104 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsLeonardo Music Journal Search Advanced Search This content is only available as a PDF. ©2020 ISAST2020ISAST Article PDF first page preview Close Modal Supplementary data Sonic Commentary: Audio Series Volume 30 Tracklist- pdf file Click here to download the entire Audio Companion section as MP3 files.- zip file Click here to download the entire Audio Companion section as M4A/AAC files.- zip file Click here to download the entire Audio Companion section as WAV files.- zip file Zachary James Watkins: “AFFIRMATIVE ACTION” (from AFFIRMATIVE ACTION) (10:42)- mp3 file Zachary James Watkins: “AFFIRMATIVE ACTION” (from AFFIRMATIVE ACTION) (10:42)- m4a file Zachary James Watkins: “AFFIRMATIVE ACTION” (from AFFIRMATIVE ACTION) (10:42)- wav file Davia Spain: “Hello” (3:59)- mp3 file Davia Spain: “Hello” (3:59)- m4a file Davia Spain: “Hello” (3:59)- wav file Raven Chacon: “Tributary” (from AFFIRMATIVE ACTION) (4:43)- mp3 file Raven Chacon: “Tributary” (from AFFIRMATIVE ACTION) (4:43)- m4a file Raven Chacon: “Tributary” (from AFFIRMATIVE ACTION) (4:43)- wav file JKLM: “Fill A Stranger’s Shoes” (4:29)- mp3 file JKLM: “Fill A Stranger’s Shoes” (4:29)- m4a file JKLM: “Fill A Stranger’s Shoes” (4:29)- wav file Ava Mendoza: “Attempted Dictator III” (from AFFIRMATIVE ACTION, performed by TLES) (4:46)- mp3 file Ava Mendoza: “Attempted Dictator III” (from AFFIRMATIVE ACTION, performed by TLES) (4:46)- m4a file Ava Mendoza: “Attempted Dictator III” (from AFFIRMATIVE ACTION, performed by TLES) (4:46)- wav file AH-Mer-AH-Su: “Meg Ryan” (3:54)- mp3 file AH-Mer-AH-Su: “Meg Ryan” (3:54)- m4a file AH-Mer-AH-Su: “Meg Ryan” (3:54)- wav file Sharmi Basu: “Freelancer’s Jest or Sorry I’m A Fuckup” (from AFFIRMATIVE ACTION) (18:51)- mp3 file Sharmi Basu: “Freelancer’s Jest or Sorry I’m A Fuckup” (from AFFIRMATIVE ACTION) (18:51)- m4a file Sharmi Basu: “Freelancer’s Jest or Sorry I’m A Fuckup” (from AFFIRMATIVE ACTION) (18:51)- wav file YGSLRHSTFUT: “Rage” (2:20) - mp3 file YGSLRHSTFUT: “Rage” (2:20)- m4a file YGSLRHSTFUT: “Rage” (2:20)- wav file Morgan Craft: “Performance” (from AFFIRMATIVE ACTION)- mp3 file Morgan Craft: “Performance” (from AFFIRMATIVE ACTION)- m4a file Morgan Craft: “Performance” (from AFFIRMATIVE ACTION)- wav file You do not currently have access to this content.
How do creative sound practices function in the context of socially engaged art? Toward developing a practical methodology, this paper focuses on sound-led projects that stage socially engaged art practice in community settings, including some involving the author. Aesthetics, ethics and politics are employed as interrogative lenses for distributed creative processes. Methods for collaborative art-making that facilitate a balance between these lenses are discussed, with the author further arguing the necessity of artistic "disruption." Such sociosonic interventions are demonstrated to occur most effectively when sound practices challenge the paradigm of unidirectional audial reproduction: rupturing traditional hierarchies of creator and listener.
Stowaway City is an immersive audio experience that combines electroacoustic composition and storytelling with extended reality. The piece was designed to accommodate multiple listeners in a shared auditory virtual environment. Each listener, based on their tracked position and rotation in space, wirelessly receives an individual binaurally decoded sonic perspective via open-back headphones. The sounds and unfolding narrative are mapped to physical locations in the performance area, which are only revealed through exploration and physical movement. Spatial audio is simultaneously presented to all listeners via a spherical loudspeaker array that supplements the headphone audio, thus forming a hybrid listening environment. The work is presented as a conceptual and technical design paradigm for creative sonic application of the technology in this medium. The author outlines a set of strategies that were used to realize the composition and technical affordances of the system.
The abstraction of musical structures as mathematical objects in a geometrical space is one of the major accomplishments of contemporary music theory. The author generalizes the concept of musical spaces as networks and derives compositional design principles via network topology analysis. This approach provides a framework for analysis and quantification of similarity of musical objects and structures and suggests a way to relate such measures to human perception of different musical entities. Finally, network analysis provides alternative ways of interpreting the compositional process by quantifying emergent behaviors with well-established statistical mechanics. Interpreting the latter as probabilistic randomness in the network, the author develops novel compositional design frameworks.
