LMJ: Catalog of Back Issues
Leonardo Music Journal is a print journal published annually by the MIT Press.
ONLINE ACCESS: Subscriptions to Leonardo Music Journal include access to electronic versions of journal issues available on The MIT Press website.
ORDER: Subscriptions, individual issues and articles can also be ordered from The MIT Press.
LMJ 25: The Politics of Sound
Volume 25 of Leonardo Music Journal addresses the role of politics in the creation and dissemination of music and related sonic arts, especially in those genres employing new technological tools. Papers by composers and sound artists cover such topics as: Creative activity under conditions of war, repression and censorship; sonic art representations of political content; gender, racial, cultural and class privileges in technology-driven music; the ecological politics of computers and other short-lifespan materials; and alternative music controllers in response to disabilities. Authors include: Tom Kohut, Alison Pezanoski-Browne, Gerald Fiebig, Tullis Rennie, Helen R. Mitchell, Koichi Samuels, Adam Tinkle, Daniel Walzer, Andrew Brooks, Ryan Jordan, Shelly Knotts, Karen Collins and Ruth Dockwray, Richard Lerman, Mo H. Zareei, William A. Thompson IV with Jeffrey Albert, Jing Wang, Tara Rodgers, Adi Louria-Hayon, Martyn Hudson, Christopher DeLaurenti, Christopher Wood, Neil Leonard, Nathan Thompson, Sandra Kazlauskaitė, Alyce Santoro, and Katia Chornik. LMJ25 also includes the audio compilation, Sonic Commentary: Meaning through Hearing, available for download from the MIT Press server. Curated by Lukas Ligeti, this edition of the LMJ Audio Series features audio compilation Sonic Commentary: Meaning through Hearing with tracks by Tomomi Adachi, Matthew Burtner, Rupert Huber and Robert Adrian X, Hasan Hujairi, Susie Ibarra, Francisco López, Emeka Ogboh, João Orecchia, edGeCut, and James Webb. LMJ25 Table of Contents
< 40: Emerging Voices
For LMJ24, we decided it was time to stand on our tiptoes and peer over the horizon. This issue featured writings and audio from artists born after 1975 to address the impact of emerging technological resources on new aesthetic movements. Authors include Andrea Young; Ludvig Elblaus, Carl Unander-Scharin and Asa Unander-Scharin; Bridget Johnson; Jonathan Weinel, Stuart Cunningham, Darryl Griffiths, Shaun Roberts and Richard Picking; Juan David Rubio R.; Fernanda Sa Dias; Mitchell Akiyama; Noel Celtovic; Cody Eikman; Nadia Ratsimandresy; Elen Flügge; Owen Vallis, Jordan Hochenbaum and Jasmin Blasco; Kay Festa, Jay Barnacle and You Nakai; Yoon Chung Han and Byeong-jun Han; Anastasya Koshkin; Ian Fleming; Budhaditya Chattopadhyay; James Connolly and Kyle Evans; Heather Contant; Byungjoo Lee; Kazuhiro Jo; Daniel Wilson; Daniel Iglesia; Kristin Grace Erickson; icolas Bernier; Phillip Hermans; Natacha Diels; Jesse Seay; and Si Waite. LMJ24 also includes the audio compilation, The Shape of Spaces yet to Come, available for download from the MIT Press server. Curated by Jonathan Chen, this edition of the LMJ Audio Series features Seth Cluett, Li Jianhong, Jessica Feldman, Carver Audain, Charles Céleste Hutchins, Hiram Navarrete, Doug Van Nort, and Anne Guthrie. LMJ24 Table of Contents.
LMJ 23: Sound Art
Art is getting noisier every day. Whether made by sculptors, video artists, composers, printmakers or installation artists, there’s no question but that “Sound Art” is a genre ascendant. The Turner Prize went to a Sound Artist last year, Phonography has revived an interest in R. Murray Schafer’s Soundscape theories, and critical writing is beginning to proliferate on the topic. Leonardo Music Journal gave this field a closer look by addressing the role of sound in art that wouldn’t necessarily be called “music.” Authors include Llorenç Barber, Peter Batchelor, Marc Berghaus, Jane Grant, John Matthias, Mike Blow, Florian Grond, Adriana Olmos, Jeremy R. Cooperstock, Yolande Harris, Jessica Thompson, Edwin van der Heide, Emma Whittaker, Jos Mulder, Colin Wambsgans, Florian Hollerweger, David Monacchi. The issue includes the CD sound—or its absence curated by Seth Cluett with tracks by James Webb, Catherine Béchard & Sabine Hudon, Maia Urstad, Tania Candiani, Mendi and Keith Obadike, Tetsuya Umeda, Pascal Broccolichi, Hong-Kai Wang, Benedict Drew, Nina Katchadourian. LMJ23 Table of Contents.
LMJ 22: Acoustics
Immersed as we are in electronically mediated sound, at the end of the day—whether it’s coming from ukuleles or earbuds—sound reaches us through acoustic pressure. The sheer physicality of sound, and its quirky interaction with our sense of hearing, has driven many a composer and sound artist to go back to the "year zero" in music—before the codification of melody, rhythm and harmony—and explore fundamental aspects of the physics and perception of sound. LMJ22 highlights writings on the role of acoustics and psychoacoustics in music and audio art. Authors include Ellen Fullman; David Burraston; Robert Dick; Owain Pedgley and Eddie Norman; John Driscoll; Daniel Wilson; Jim Murphy, Ajay Kapur and Dale Carnegie; Woon Seung Yeo, Keunhyoung Kim, Seunghun Kim and Jeong-seob Lee; Tim Feeney; Phil Edelstein; David Prior; Ellen Band; Richard Glover; Henry Gwiazda; Kristian Derek Ball; Christopher Haworth; Lewis Kaye; Scot Gresham-Lancaster and Peter Sinclair; Alex Wand; and David First. The issue includes a CD curated by Daniel James Wolf with tracks by Chris Molla, Ann Warde, Judy Dunaway, Hauke Harder, Miguel Frasconi, and Kiyomitsu Odai. Includes the CD Acoustics curated by Daniel James Wolf. LMJ22 Table of Contents.
LMJ 21: Beyond Notation: Communicating Music
Peer-to-peer file exchange, the iTunes store, MySpace, Pandora—by 2010 it’s obvious that the Internet has radically transformed the economy and culture of selling, distributing, owning and hearing recorded music. Less discussed is the Web’s impact on that part of music that used to be called “the score”—instructions, suggestions and materials for performing, rather than consuming, music. Software required to play interactive computer music can be downloaded directly from composers’ websites, as easily as a score can be checked out of a library, and the iPhone has fostered yet another realm of publishing: Bands sell apps that allow fans to make personal remixes of their singles, while another popular app lets you play your phone like an ocarina as you jam with other players around the globe. Volume 21 of LMJ addresses the impact of technological change on how we distribute instructions and materials for musical performance. Includes a CD curated by Andrew Raffo Dewar. Includes the CD Beyond Notation / Notation Beyond, curated by Andrew Raffo Dewar. LMJ21 Table of Contents.
LMJ 20: Improvisation
Improvisation has been a critical component in many forms of music around the world throughout most of history, and is an essential quality of human intelligence that extends far beyond the borders of art. It remains, nonetheless, a controversial subject in contemporary Western music: detested and denounced by such titans as Pierre Boulez and John Cage, embraced with equal fervor by others, and seriously misunderstood by many. LMJ20: Improvisation explores aspects of improvisation in music, art and the general realm of decision-making—especially texts addressing the interplay of improvisation and technology. Includes CD: "Sounds Like Now: Improvisation + Technology" curated by Tara Rodgers. LMJ20 Table of Contents.
LMJ 19: Our Crowd—Four Composers Pick Composers
In the spirit of James Surowieki's The Wisdom of Crowds, we've enlisted the help of four distinguished corresponding editors: Hans Koch (Germany), Annea Lockwood (USA), Kees Tazelaar (Netherlands), and Pauline Oliveros (USA), to seek out a diversity of content from their communities. Much like a successful dinner party, this issue of LMJ is a mix of different obsessions and gambits, combining to trigger those serendipitous leaps from one subject matter to another, unpredictable yet harmonious, pointing up connections that no single guest had perceived before. Includes CD: "Listening for Music through Community" curated by Pauline Oliveros. LMJ19 Table of Contents.
LMJ 18: Why Live? Performance in the Age of Digital Reproduction
Includes CD: "Why Record? Life in the Age of Digital Performance" curated by Click Nilson. LMJ18 Table of Contents.
LMJ 17: My Favorite
Things: The Joy of the Gizmo
If, as Marshall McLuhan so famously suggested, the medium is the message, then the gizmo must be the one-liner. From baroque violinists to laptoppers, sound artists have long fetishized the tools of their trade, the mere naming of which can provoke an instant reaction: Shout "LA-2A," "TR-808," "JTM45" or "Tube Screamer" in a room full of musicians, and you will notice the eyes brighten, the breath shorten and the anecdotes pour forth. But only to a point: Many a "secret weapon" is held close to the chest. LMJ 17 addresses the significance of physical objects—homemade instruments, effect boxes, pieces of studio gear, "bent" toys, self-built circuits and so on—in music and sound art in a time of increasing emphasis on software and file exchange. Includes CD: "The Art of the Gremlin: Inventive Musicians, Curious Devices," curated by Sarah Washington. LMJ17 Table of Contents.
LMJ 16: Noises Off—Sound Beyond Music
These days sound is more than just music. Museums, galleries and artists' studios are getting noisier: it's not that there is so much more "Sound Art," but rather that so much more art has sound. Cellphone ringtones generated four billion dollars in sales worldwide in 2004. Incoming email and outgoing popcorn announce themselves with plops and gongs and boops and beeps—the emerging field of "sonification" addresses this proliferation of all these "earcons" and other representational uses of sound. Sound design is a vital part of Hollywood films and computer games. While CD sales shrink with the proliferation of peer-to-peer file exchange, the creative use of sound is expanding in almost every other part of our lives. Includes CD: "Interpreting the Soundscape," curated by Peter Cusack. LMJ16 Table of Contents.
LMJ 15: The Word,
Voice, Language and Technology
In the beginning of music there very likely was the Word—whether "hush" (little baby) or "hosanna"—but from the knife that kept the great castrato Farinelli forever boyish to the harmonizer that made Laurie Anderson temporarily mannish, technology has been used to tweak the human voice and to color the stories it tells. With the advent of electronic amplification, radio and recording, a single microphone could convey the lip-brushing intimacy of the whisper and croon well beyond the first row of the concert hall. The evolution of vocal styles cannot be separated from innovations in recording technology such as tape echo, double tracking, electronic reverberation and, most recently, an ever-expanding palette of digital effects. The interplay of the semantic content of a text and the melodicpossibilities of the voice have made "song" the world's most common musical form, and technology-driven vocal innovations have often triggered the emergence of new musical genres. Between the much touted "abstractness" and "universality" of music and the seductive specificity of words there exists a poignant and powerful lacuna. In LMJ15, authors and composers discuss the sound and ideas behind their words. Includes CD: "Vox ex Machina," curated by Jaap Blonk. LMJ15 Table of Contents.
Composers inside Electronics: Music after David
Inspired by David Tudor and others, the experimental music community in the 1970s adopted a new working method based on seat-of-the-pants electronic engineering. The circuit—whether homemade, self-hacked or store-bought but scrutinized to death—became the score. A generation later, aspects of the Tudor aesthetic have spread well beyond the avant-garde: hip-hop, house and other forms of dance music and electronica share a similar obsession with the quirks intrinsic to specific pieces of audio gear. In this special volume of Leonardo Music Journal, authors consider all aspects of the work of David Tudor, the influence of Tudor's ideas on their own work and/or the role of technological idiosyncrasies in their composition, performance or production. Includes CD: "David Tudor: Live Electronic Music," curated by Ron Kuivila. LMJ14 Table of Contents.
LMJ 13: Groove,
Pit and Wave: Recording, Transmission and Music
Sound is encoded in grooves on vinyl, particles on tape and pits in plastic; it travels as acoustic pressure, electromagnetic waves and pulses of light. The rise of the DJ in the last two decades has signaled the arrival of the medium as the instrument—the crowning achievement of a generation for whom tapping the remote control is as instinctive as tapping two sticks together. Turntables, CD players, radios, tape recorders (and their digital emulations) are played, not merely heard; scratching, groove noise, CD glitches, tape hiss and radio interference are the sound of music, not sound effects. John Cage's 1960 "Cartridge Music" has yet to enter the charts, but its sounds are growing more familiar. In LMJ13 authors contribute their thoughts on the role of recording and/or transmission in the creation, performance and distribution of music: Includes CD: "Splitting Bits, Closing Loops: Recording, Transmission and Music," curated by Philip Sherburne. LMJ13 Table of Contents.
From its naughty lyric content to the pounding physicality of its sound, Pop music is unabashedly driven by the pleasure principle. "Serious" music, however, is usually perceived as more refined, genteel, or to put it another way, repressed. And the avant-garde has traditionally found itself in the peculiar position of accompanying bohemian, hedonistic lifestyles with defiantly itchy and uncomfortable music. But are pleasure and thoughtful invention necessarily at odds? Can there be no "bump and mind"? ... LMJ 12 includes articles and personal reflections on the role of pleasure in all genres of music. Includes CD: "From Gdansk till Dawn: Contemporary Experimental Music from Eastern Europe," curated by Christian Scheib and Susanna Niedermayr. LMJ12 Table of Contents.
Not Necessarily "English Music": Britain's Second "Golden
After the first installment of Cool Britannia beguiled the 1960s with its peculiar conflation of Pop, Art, Fashion and Politics, musical experimentation flourished in the U.K. Styles of improvisation, minimalism, electronic music, performance art, political music and "amateur" music grew out of British art schools, universities and urban villages; styles neither as self-important as those of Europe nor as blithely technocratic as those of North America—a peculiarly "English Music" (and Scottish and Welsh). Includes Two-CD Set: "Not Necessarily 'English Music,'" curated by David Toop. LMJ11 Table of Contents.
Southern Cones: Music out of Africa and South
Contributors include: Coriún Aharonián, Lucio Edilberto Cuellar Camargo, Carlos Palombini, Daniel Velasco, O'dyke Nzewi, George Lewis, Lukas Ligeti, Artemis Moroni, Jônatas Manzolli, Fernando Von Zuben and Ricardo Gudwin, Damián Keller, Neil McLachlan. Plus notes by CD Contributors. Includes CD: "Southern Cones: Music out of Africa and South America," curated by Jürgen Bräuninger. LMJ10 Table of Contents.
Power and Responsibility: Politics, Identity and Technology in
Contributors include: Nicolas Collins, Krystyna Bobrowski, Sergi Jordá. William Duckworth, Mark Trayle, Chris Brown, Justin Bennett, Lowell Cross, Daniel Goode, Fred Ho, Rajmil Fischman, David Dunn, René van Peer, William Osborne, Frederic Rzewski, David Cope, Roger Alsop, Ann Warde, Dante Tanzi, Greg Schiemer, Suguru Goto, Peter Manning, David Ryan, Sasan Rahmatian, John Bischoff, Guy van Belle. Plus notes by CD Contributors. Includes CD: "Power and Responsibility: Converted to Streaming Between Machines," curated by Guy van Belle. LMJ9 Table of Contents.
Ghosts and Monsters: Technology and Personality in Contemporary
Contributors include: Nicolas Collins, Cornelius Cardew, Alvin Lucier, Ron Kuivila, David Behrman, Richard Barrett, Jonathan Impett, Nicolas Collins, David Gamper, Pauline Oliveros, Scot Gresham-Lancaster, Robert M. Poss, Ricardo Arias, Matthias Osterwold, Christian von Borries, John Cage, Andrew Culver, John Tilbury. Plus notes by CD Contributors. Includes CD: "Ghosts and Monsters: Technology and Personality in Contemporary Music," curated by Matthias Osterwold. LMJ8 Table of Contents.
Contributors include: Nicolas Collins, Flo Menezes, Bill Thibault, Scot Gresham-Lancaster, Kevin Holm-Hudson, Bruno Degazio, David Rosenboom, Sean Cubitt, Eduardo Reck Miranda, Larry Polansky, Nick Didkovsky, Gordon Monro, Plus notes by CD Contributors. Includes CD: "Cocks Crow, Dogs Bark: New Compositional Intentions," curated by Larry Polansky. LMJ7 Table of Contents.
Contributors include: Gerald Hartnett, Lydia Ayers, Neil Leonard II, Charles Ames, Stephen Brooks, Brian J. Ross, Axel Mulder, Joel Chadabe, Bulat Galeyev, Leon Theremin, Lydia Kavina, Natalia Nesturkh, Douglas Kahn, Paul Carter, Rainer Linz, Percy Aldredge Grainger. Plus notes by CD Contributors. Includes CD: "The Lyre's Island: Some Australian Music, Sound Art and Design," curated by Douglas Kahn. LMJ6 Table of Contents.
Contributors include: Douglas Kahn, Brigitte Burgmer, David A. Jaffe, Pauline Oliveros, Robert HP Platz, Diane Thome, Charles Ames, Libor Zajicek, Pavel B. Ivanov, Andra McCartney, Marc Battier. Plus notes by CD Contributors. Includes CD: "Innovation in Contemporary Japanese Composition," curated by Marc Battier with Mamoru Fujieda, Hinoharu Matsumoto and Kazuo Uehara. LMJ5 Table of Contents.
Contributors include: Alvin Curran, Frances Dyson, Michaðl Levinas, Jonathan Berger, Charles Nichols, Stephanie Mason, Michael Saffle, Kathryn Vaughn, Judith Becker, Wendy Boettcher, Sabrina Hyn, Gordon Shaw, Edward Carterette, Roger Kendall, Cornelia Fales, Stephen McAdams, James Kippen, Bernard Bel, Frédéric Voisin, Ricardo Del Farra. Plus notes by CD Contributors. Includes CD: "Música Electroacústica de Compositores Latinoamericanos," curated by Ricardo Dal Farra. LMJ4 Table of Contents.
Contributors include: Gayle Young, Kristi A. Allik, Robert C.F. Mulder, Xavier Chabot, Helen Hall, Richard M Povall, Charles Ames, Giuseppe G. Englert, Jack Ox, Gregory Young, Jerry Bancroft, Mark Sanderson, Joe Catalano, Pauline Oliveros, Larry Wendt. Plus notes by CD Contributors. Includes CD: "Vocal Neighborhoods: A Walk through the Post-Sound-Poetry Landscape," curated by Larry Wendt. LMJ3 Table of Contents.
Contributors include: Marc Battier, Nick Didkovsky, Brian Evans, Barton McLean, Stephen Travis Pope, Godfried-Willem Raes, Barry Truax, Rodney Waschka II, Mark Rais, Peeter Vähi, Charles Ames, Andrew Gerzso, Leonardo C. Manzara, Ian H. Witten, Mark James, Joan Truckenbrod, Jody Diamond. Plus notes by CD Contributors. Includes CD: "Interaction: New Music for Gamelan," curated by Jody Diamond. LMJ2 Table of Contents.
Contributors include: Larry Polansky, Warren Burt, Bart Hopkin, I Wayan Sadra, Jody Diamond, Sara Garden Armstrong, Peter Beyls, John Bischoff, Nicolas Collins, Daniel Goode, Mark Trayle, Charles Ames, Martin Bartlett, Elliot Mazer, K. Atchley, Ed Osborn. Plus notes by CD Contributors. Includes CD: "Anthology of Music for the 21st Century,"15 tracks selected by jury. LMJ1 Table of Contents.
Updated 8 December 2016