Leonardo Music Journal
In 1956, Lejaren A. Hiller, Jr., and Leonard Isaacson debuted the Illiac Suite, the first score composed with a computer. Its reception anticipated Hiller’s embattled career as an experimental composer. Though the Suite is an influential work of modern electronic music, Hiller’s accomplishment in computational experimentation is above all an impressive feat of postwar conceptual performance art.
This article reflects on how the author’s use of oral history recordings as source material in three electroacoustic works suggests ways in which complementary threads of storytelling and recorded memory can be shaped into purposefully directed forms.
This article adapts a conversation on a network project, Listening across Disciplines, which brought together artists, musicians, scientists, technologists and social scientists to discuss the use, value and application of listening as a shared methodology of inquiry and communication. The discussion focuses on one of the key issues emerging from this network: the question of consensus and collaboration in the development of a shared listening methodology.
This paper proposes a novel approach to automated music recommendation systems. Current systems use a number of methods, although these are generally based on similarity of content, contextual information or user ratings. These approaches therefore do not take into account relevant, well-established models from the field of music psychology.
Digital technology can be used as a scenographic tool to project visual settings in the theatrical space. However, digital scenography that incorporates “faux-interactivity,” or the illusion of a causal relationship between live performers and digital elements, can also serve as a form of notation that digitally preserves the physical movement of live performers through scenographic context.