Mara Helmuth

Multidimensional representation of electroacoustic music

Abstract A five‐layered system of graphical representation has been created for the analysis of electroacoustic compositions. Electronic music often contains spectral changes and other timbral aspects that make traditional music notation inadequate. The sonogram is a useful representation of the frequency spectra and their evolutions. Additional layers have been included to clarify various aspects such as pitch relationships, phrasing, overall dynamic levels and processing techniques. Pitch notation, a phrase analysis, amplitude lines and a text line of comments have been combined to form more accurate visual representations of music.

Virtual musical performance and improvisation on Internet2

Several projects involving audio and video transmission between the University of Cincinnati and other sites over the high bandwidth Internet2 have ranged from the simple transmission of video material, to more complex interactive improvisation. A performance of Clotho, the life of Camille Claudel, a musical monodrama collaboration, was streamed in September 2000 over Internet2 to a widely distributed audience. The second project involved my real-time contribution from Cincinnati to a performance happening at Yale University of The Ankle Diver, with music by Matthew Suttor. A network improvisation project with the Soundmesh (formerly Internet Sound Exchange) software resulted in a number of improvisations involving the University of Cincinnati, Columbia University, Yale University and the Fall Internet2 Meeting at the University of Southern California. High-quality audio and flexibility of sound sources and processing is a strength of these improvisations.

1992 International Computer Music Conference, San Jose, California USA, 14-18 October 1992

The 1992 International Computer Music Conference (ICMC) took place in San Jose, California, 14-18 October 1992. Below, we present reviews of the conference as a whole (with special reference to the paper sessions), written by Paul Berg (organizer of the 1986 ICMC), Rob Duisberg, and Carla Scaletti. Following these general remarks are separate reviews of each of the eight concerts, for which we thank Bob Pritchard, Todd Winkler, Rick Taube, Mara Helmuth, Jon Berger, Jon Hallstrom, and Brad Garton. We also provide a review of the one concert that was included

Sensors enabling automatic generation of electronic music

In this demo, a new application for the wireless sensor networks (WSN) is presented. This is the first time WSN is used to in the music field, where the music is being manipulated and changed according to the movement of the dancer. Twenty-three tmote sensors have been deployed on a dancing stage, and two sensors were attached to the arms of each dancer. Information collected from sensors deployed on the stage are being sent and processed at a central location where the music being played is manipulated. This project is the first phase of collaboration in a multi-disciplinary research between the Computer Science department and the College-Conservatory of Music at the University of Cincinnati.