March 03 2023 SONDA Festival 2022 SONDA Festival 202212 November 2022, Brno Observatory and Planetarium, Czech Republic. https://sondafestival.com/; sondafestival@gmail.com. Seth Rozanoff Seth Rozanoff Amsterdam, The Netherlands Search for other works by this author on: This Site Google Scholar Author and Article Information Seth Rozanoff Amsterdam, The Netherlands Online Issn: 1531-5169 Print Issn: 0148-9267 © 2023 Massachusetts Institute of Technology2023Massachusetts Institute of Technology Computer Music Journal 1–2. https://doi.org/10.1162/comj_r_00628 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Seth Rozanoff; SONDA Festival 2022. Computer Music Journal 2023; doi: https://doi.org/10.1162/comj_r_00628 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 JournalsComputer Music Journal Search Advanced Search This content is only available as a PDF. © 2023 Massachusetts Institute of Technology2023Massachusetts Institute of Technology Article PDF first page preview Close Modal You do not currently have access to this content.

Chris Cundy’s Crude Attempt is a collection of four tracks, constructed in his home studio in Gloucestershire, England. This work’s instrumental range consists of bass clarinet, a Korg MS20 synthesizer, Watkins Copicat tape echo, and amplified flutes—shaping a musical relationship between the bass clarinet and a sound world stemming from electronic instruments. Using this sonic palette, Cundy creates delicate and subtle timbral combinations. His studio environment, as well as the social restrictions due to Covid lockdown in England, greatly influenced Cundy’s recent thinking. As such, it is this social scenario that led to a heightened sense of place, compared with his previous work. This awareness enabled Cundy to shift focus onto sonic elements that ultimately result in carefully managing seemingly less demonstrative gestures—meaning that the issue of “liveness,” or how

In Objects (2020), Lefteris Papadimitriou has constructed a suite of works, each one demonstrating its own distinctive organizational strategy and range of digital abstractions. Each “object” in this series (there are seven) sustains a particular range of sonic layers. A studio process—forming connections between sounds that share similar gestural identities—determines the mixture of these layers. Papadimitriou’s layers stem either from one type of morphology, or are the result of a more-complex arrangement of samples. Sometimes his materials are generated using modular sampling techniques from the Reaktor program. Papadimitriou also uses studio synthesis techniques, such as granulation, filtering, and time stretching. Where pitch qualities arise, he transforms these source materials.

that conceptual space of materiality, virtual place, and virtual place as apparatus, and in a spiritual space where preexisting material features become part of virtual image (credit to virtual image scholar and professor Lisa Zaher). The concert’s final piece, “Moksha Black” by King Britt featuring Roba El-Essawy, disseminates sonospatial models that can be transduced (based on registered aspects) into one’s metaphysical space (which is cognitively and psychoacoustically entangled). For example, the initial voices are farther and larger in metaphysical space than physical space; then, a square-like tone cuts through in metaphysical space; and later, voice is physically still while circling and stuttering in metaphysical space. Towards the end, voices are vertical poles (in allocentric space) from which frequency spectra fall like glitter and sparks. “Sun Ra’s gift was understanding the passage of humankind through large swaths of time. . . . The sound of those insects. That continuity. Who’s to say that that sound . . . can’t be interpreted as a meaningful sequence of something like language abiding to something like a grammar?” (Thomas Stanley, in conversation with the reviewer). In his keynote address “You Haven’t Met the Captain of the Spaceship. . . Yet,” Thomas Stanley presented extensive info about interfacing with and interpreting Sun Ra’s teachings, including myth as tech—specifically, Alter Destiny, a leap into a zone of justice that is now possible because the original myth of dominion has gradually become unstable. It involves solving the many crises (e.g., racism, intergroup conflict, “extractive capitalism and the filth that goes along with this way of life,” potential mutually assured destruction, capitalist labor, an American empire whose populace is largely “distracted, paid off, sedated by . . . the fruits of oppression that happen in other peoples’ country”) predicated on that myth, simultaneously. This seems impossible, but the resolve “to be that broad in our attempts to ameliorate the situation is the starting point” (Stanley, in conversation with the reviewer). Sun Ra’s music contains messages that can help us question our fundamental beliefs rooted in that myth. The Sounds In Focus II concert begins with “The Shaman Ascending” by Barry Truax: a constantly circling vocal not circling in metaphysical space, through which spectral processes sculpt a spider-shaped cavern around me in allocentric and metaphysical space. In “Abwesenheit,” John Young clinically and playfully makes audible the air currents and stases in the room. Lidia Zielinska’s “Backstage Pass” treats idiomatic piano moments as seeds nourished with playful curiosity and passion, presented with spatial polymatic frequency poiesis in a room-sized piano bed. To start the Sounds Cubed II concert, centripetal whispers in “śūnyatā” by Chris Coleman construct connective tissue to the Cube’s center. In “Toys” by Orestis Karamanlis, flutters of sonic pulses along the perimeters form spatially balanced (with stable centers) patterns articulating shapes that map intuitively to one’s body. Remarkably, it’s easy to imagine one’s bodily sensors located on the pattern. The pattern articulates and secretes space in a manner similar to point clouds (and incidentally, it’s easy to imagine mirrors of the pattern in real time), but also requires particular speeds and temporal arrangements of pulses, inspiring further studies of virtual bodies and spatial sense. The Listening Lounge in the Cube presented Eric Lyon’s spatialization of Sun Ra’s mind-altering album Space Is The Place, in which spatial orientation and arrangement of interweaving lines of instruments construct a gigantic floating head, directional flashes of fire propelling a negative-sound rocket, a metaphysical hypercube, and spherical radiation of life from each sound source if in a denser medium. The audience was intensely focused, and the spatialization allowed many to hear new sounds in the album. This was a fitting closing to Cube Fest 2022, which was not only continually awe-inspiring but also a tremendous historical event prompting countless future experiments. I look forward to the next one.

[Editor's note: Selected reviews are posted on the Web at http://www.computermusicjournal.org (click on the Reviews tab). In some cases, they are either unpublished in the Journal itself or published in an abbreviated form in the Journal.]Digital download, 2021, London, England, available from Naviar Records NR011. https://naviarrecords.bandcamp.com/album/the-present-time; https://www.naviarrecords.com.Mauri Edo, known as Subespai, has recently produced an album entitled The Present Time. In the Catalan language, subespai means “subspace”—a space within a space. This concept, which is found in mathematics, appropriately characterizes the composer's approach to organizing a sonic landscape within this set of tracks, which was produced on a four-track tape machine. Subespai has deployed an improvisatory approach to layering sound in The Present Time, exploring the limitations of his resources in the studio. Subespai's intuitive compositional process stems from the use of what he describes as found sound components: “samples from here and there, downloaded, recorded or generated (by myself).” Subespai identifies the results of this process used for building sonic layers, as his “instruments” or “primary colors.” This foundation is then processed further, where the total set of operations for construction resemble what Thom Holmes describes as “listening, reacting, augmenting, and creating” (Holmes 2002). Holmes uses this approach as it relates to performing with electronic instruments. For me, this composer-performer strategy characterizes how Subespai adds and removes, cuts and pastes, and alters the tempo and pitch of his physical and digital sources. He applies these techniques or strategies subjectively, continually developing the role of sonic fragments for use in a given track. Subespai mentions the following about working in his studio environment: “it's very hands-on, very manual … feels very alive to me.”Although one might be compelled to characterize Subespai's process as fitting into the “ambient” music genre, the beauty heard seems to be due more to the composer's ability to capture or extract a range of sounds that complement one another, resulting in fluid music. For me, the composer has successfully circumvented any technical limitations inherent in the tools used in creating The Present Time. The following comments by the composer support this view: “nothing is off-limits with this process, neither the original sound source nor the manipulations it goes through or the final track. It's all about getting to the point … where I could listen to something over and over, losing track of time.” This attitude highlights the composer's confidence in the sonic material with which he is working.Upon listening to the first track, “Untitled (black on gray),” one is presented with a sonic image that could be described as a pulsing electrical current paired with night insect sounds. The intuitive process of interweaving these two sound classes together is not the result of convolution, but of blending each other's timbral materials with one another. As a result, a closeness or intimacy develops, forming a hybrid listening environment. Overall, this sound complex aims to demonstrate a broad gesture, led by an intermittent, subtle proliferation of material. Later, this sonic action begins to dissipate, demonstrating a reversal of the previous growth, until that gesture dies out.In track 2, “Bedridden,” the composer immediately highlights a virtual landscape, stemming from combining electronic noise with birdsong. The inclusion of birdsong signifies an outdoor environment, and the integration of wind chime sounds further encourages a sense of place in nature. Overall, this track refers to a broader “space,” where the listener is provided with a developing overview of the total collection of sounds used. As such, the narrative becomes expansive, and the listening experience results in a substantial sonic field. Another feature of this track is an en dehors synthesizer melody, which has been carefully placed among the slightly noise-infused environment, resulting in the two elements becoming interdependent. This track also demonstrates an important aspect of Subespai's compositional output, stemming from his experiences performing electronically. Conversely, his compositional thinking informs his approach to performing.Regarding the issue of performativity—rather, liveness—Subespai mentions the following: “it comes directly as a result of how I work, how I create, how I record … If I find something … I want to be able to play it live, and also make a piece out of it. This forces me to take a lot of notes, manipulate a lot, make sure I can reproduce things days later… . It's all like a long-running performance.” These comments help to characterize the composer's attitude toward his work's close relationship to performance.Regarding Subespai's studio approach, he transforms his fundamental sound classes over time. However, what is most compelling is his maintenance of a relatively small group of samples. This limitation, coupled with the studio tools he uses, helps to simplify a given musical process, regardless of any musical, timbral, or noise-based element used. Often, this setup results in a sense of stasis heard throughout The Present Time.Another attitude that influenced the outcome of Subespai's studio composition is his view on the occurrence of everyday life events. Regarding this issue, Subespai is concerned with life's extreme nuanced range and its ambiguity, which is inherent in much of our daily experience. Therefore, one could view Subespai's studio practice as a reflection of his perception of the natural world. This concept reflects the composer's strategy in the studio, combining organic and so-called artificial sounds, or a more environmentally based sound palette, with noise. Ultimately, the following statements made by Subespai confirm our musical observations of his work in the studio: “I just love mixing stuff that has nothing to do with each other, creating new atmospheres that didn't exist … the listener will come up with their own images to go along with the tracks, their own story.” For Subespai, his studio practice allows for freedom and experimentation, the results of which are then directly integrated in his work. Overall, his process of experimentation forms the foundation of this composition.A distinctive feature in track 3, “A brief moment of stillness,” is the emergence of a bright and active color amidst a more dense layering. This process seems to have resulted in a blend of sound that is more unidentifiable compared with other sections heard previously. This type of patterning and interweaving of sound material may offer a listener multiple perspectives, perhaps provoking alternative imagery. As such, the composer has carefully selected materials in preparing this track, and, similar to what the title suggests, stillness is achieved. This track's sound world, with its ambiguous range of color and density, progresses further, compared with the musical contrasts found in the previous tracks.In track 4, “Sandglass,” pre-recorded material is looped in a distinctive manner, and pitted alongside another partially looped layer. The composer brings these elements together, overlapping them with other noise-based streams. The result alludes to impressions of a flowing concentration of sand. A nature-based sound has been juxtaposed onto the granular texture as well. Overall, one could view the total range of sound classes present in this track as forming groupings of cross-rhythmic patterning.“Braidwood to Northside,” track 5, offers the listener a seemingly constrained or limited acoustic space, wherein environmental elements of wind and burning wood, and other ambiguous sound classes are brought together. This results in a physical sense of place, offering the listener a visceral, multidimensional sound complex, provoking a sense of physical movement.In sum, The Present Time highlights the composer's ability to create a broad, and sometimes complex, mixture of sonic weight or color, rather than any particular electronic music technique, or reference to genre and historical precedence. Here, Subespai is successful in his arrangement of material, loosely preparing his sound material in a manner that allows him to repeatedly experiment until the desired sonic result emerges.

Chris Cundy’s Crude Attempt is a collection of four tracks, constructed in his home studio in Gloucestershire, England. This work’s instrumental range consists of bass clarinet, a Korg MS20 synthesizer, Watkins Copicat tape echo, and amplified flutes—shaping a musical relationship between the bass clarinet and a sound world stemming from electronic instruments. Using this sonic palette, Cundy creates delicate and subtle timbral combinations. His studio environment, as well as the social restrictions due to Covid lockdown in England, greatly influenced Cundy’s recent thinking. As such, it is this social scenario that led to a heightened sense of place, compared with his previous work. This awareness enabled Cundy to shift focus onto sonic elements that ultimately result in carefully managing seemingly less demonstrative gestures—meaning that the issue of “liveness,” or how

During the first weekend of March 2020, the University of Central Missouri (UCM) hosted the third annual Missouri Experimental Sonic Arts Festival, otherwise known as MOXsonic. Although some participants were unable to attend due to coronavirus exposures in United States airports that resulted in canceled flights, the festival successfully presented most of its planned concerts, installations, talks, and demonstrations. Even so, the contributions of the people whose travel plans were affected, such as New Renaissance Artist Elizabeth A. Baker’s performance

January 01 2019 Two Live Sets Two Live Sets. By PeterEvans and SamPluta. Seth Rozanoff Seth Rozanoff Amsterdam, The Netherlands Search for other works by this author on: This Site Google Scholar Author and Article Information Seth Rozanoff Amsterdam, The Netherlands Online Issn: 1531-5169 Print Issn: 0148-9267 © 2019 Massachusetts Institute of Technology.2019Massachusetts Institute of Technology Computer Music Journal (2019) 43 (1): 79–87. https://doi.org/10.1162/comj_r_00504 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Seth Rozanoff; Two Live Sets. Computer Music Journal 2019; 43 (1): 79–87. doi: https://doi.org/10.1162/comj_r_00504 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 JournalsComputer Music Journal Search Advanced Search This content is only available as a PDF. © 2019 Massachusetts Institute of Technology.2019Massachusetts Institute of Technology Article PDF first page preview Close Modal You do not currently have access to this content.

January 01 2019 The SPLICE Institute The SPLICE Institute. Seth Rozanoff Seth Rozanoff Amsterdam, The Netherlands Search for other works by this author on: This Site Google Scholar Author and Article Information Seth Rozanoff Amsterdam, The Netherlands Online Issn: 1531-5169 Print Issn: 0148-9267 © 2019 Massachusetts Institute of Technology.2019Massachusetts Institute of Technology Computer Music Journal (2019) 43 (1): 79–87. https://doi.org/10.1162/comj_r_00502 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Seth Rozanoff; The SPLICE Institute. Computer Music Journal 2019; 43 (1): 79–87. doi: https://doi.org/10.1162/comj_r_00502 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 JournalsComputer Music Journal Search Advanced Search This content is only available as a PDF. © 2019 Massachusetts Institute of Technology.2019Massachusetts Institute of Technology Article PDF first page preview Close Modal You do not currently have access to this content.

December 01 2018 Gaudeamus Muziekweek Seth Rozanoff Seth Rozanoff Amsterdam, The Netherlands Search for other works by this author on: This Site Google Scholar Author and Article Information Seth Rozanoff Amsterdam, The Netherlands Online Issn: 1531-5169 Print Issn: 0148-9267 © 2019 Massachusetts Institute of Technology.2019Massachusetts Institute of Technology Computer Music Journal (2018) 42 (4): 75–83. https://doi.org/10.1162/comj_r_00489 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Seth Rozanoff; Gaudeamus Muziekweek. Computer Music Journal 2018; 42 (4): 75–83. doi: https://doi.org/10.1162/comj_r_00489 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 JournalsComputer Music Journal Search Advanced Search This content is only available as a PDF. © 2019 Massachusetts Institute of Technology.2019Massachusetts Institute of Technology Article PDF first page preview Close Modal You do not currently have access to this content.

June 01 2019 Sabina Covarrubias: Viaje Sabina Covarrubias: Viaje. Seth Rozanoff Seth Rozanoff Amsterdam, The Netherlands Search for other works by this author on: This Site Google Scholar Author and Article Information Seth Rozanoff Amsterdam, The Netherlands Online Issn: 1531-5169 Print Issn: 0148-9267 © 2020 Massachusetts Institute of Technology.2020Massachusetts Institute of Technology Computer Music Journal (2019) 43 (2-3): 170–171. https://doi.org/10.1162/comj_r_00525 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Seth Rozanoff; Sabina Covarrubias: Viaje. Computer Music Journal 2019; 43 (2-3): 170–171. doi: https://doi.org/10.1162/comj_r_00525 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 JournalsComputer Music Journal Search Advanced Search This content is only available as a PDF. © 2020 Massachusetts Institute of Technology.2020Massachusetts Institute of Technology Article PDF first page preview Close Modal You do not currently have access to this content.

March 01 2017 Sylvain Pohu and Pierre-Alexandre Tremblay: We Make Ourselves […] By Making Each Other […] Seth Rozanoff Seth Rozanoff Glasgow, Scotland, UK Search for other works by this author on: This Site Google Scholar Author and Article Information Seth Rozanoff Glasgow, Scotland, UK Online Issn: 1531-5169 Print Issn: 0148-9267 © 2017 Massachusetts Institute of Technology.2017MIT Press Computer Music Journal (2017) 41 (1): 89–92. https://doi.org/10.1162/COMJ_r_00400 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Seth Rozanoff; Sylvain Pohu and Pierre-Alexandre Tremblay: We Make Ourselves […] By Making Each Other […]. Computer Music Journal 2017; 41 (1): 89–92. doi: https://doi.org/10.1162/COMJ_r_00400 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 JournalsComputer Music Journal Search Advanced Search This content is only available as a PDF. © 2017 Massachusetts Institute of Technology.2017MIT Press Article PDF first page preview Close Modal You do not currently have access to this content.

June 01 2017 Peter Evans Quintet: Genesis Seth Rozanoff Seth Rozanoff Glasgow, Scotland, UK Search for other works by this author on: This Site Google Scholar Author and Article Information Seth Rozanoff Glasgow, Scotland, UK Online Issn: 1531-5169 Print Issn: 0148-9267 © 2017 Massachusetts Institute of Technology.2017MIT Press Computer Music Journal (2017) 41 (2): 83–86. https://doi.org/10.1162/COMJ_r_00416 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Seth Rozanoff; Peter Evans Quintet: Genesis. Computer Music Journal 2017; 41 (2): 83–86. doi: https://doi.org/10.1162/COMJ_r_00416 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 JournalsComputer Music Journal Search Advanced Search This content is only available as a PDF. © 2017 Massachusetts Institute of Technology.2017MIT Press Article PDF first page preview Close Modal You do not currently have access to this content.