Electronic Music Research Articles

Presentation of Noise Elements of Chinese Plucked String Instruments in Electronic Music

Traditional Chinese music highlights the linear beauty, or the melody. In addition to the presentation of melody, traditional Chinese music tends to create rhythmic beauty with a broad sound language of different attributes, which is realised by controlling the sound variation with its rich playing fingerings and techniques. Instead of evading noises, traditional Chinese music even applies noises intentionally to meet certain demands, as is very commonly found in plucked string instruments. Many typical noise languages used in plucked string instruments, while in the context of electroacoustic music, demonstrate their features in multiple dimensions of sound, such as the basic form, colour, dynamics and longitudinal gradation structure, which are gained by changes in parameters such as sound pitch, frequency, time and space information. Therefore, they imply both the basic timbre characteristics of the musical instrument and the technical characteristics of the electroacoustic music.

Notes for Notes

Notes for Notes Matthew Testa, James P. Cassaro, David R. Lewis, Samuel Judson Crawford, Rebecca Belford, and Janet McKinney Historic Jean Eichelberger Ivey recordings now online. The Peabody Institute’s Arthur Friedheim Library has digitized 234 rare recordings featuring the music of composer Jean Eichelberger Ivey (1923–2010) and some of her students in the early years of the Peabody Electronic Music Studio, the first such studio in a conservatory, which Ivey founded in 1969. The recordings in the Ivey collection contain important examples of early electronic music from the 1960s and 1970s, such as the experimental short film Pinball and various works by Ivey and her students for tape and live performers. Highlights of the collection include a 1973 television documentary about Ivey filmed at Peabody, a 1984 Ivey retrospective concert at Peabody, and video recordings of anniversary concerts by the Peabody Electronic/Computer Music Studio from the 1980s and 1990s. The Ivey recordings are available through the Friedheim Library’s streaming site at https://streaming.peabody.jhu.edu/collections/1805. For more information on access to the collection, contact peabodyarchives@lists.jhu.edu. This collection was made possible with a grant from the Council on Library and Information Resources Recordings at Risk program. Matthew Testa Peabody Institute, Johns Hopkins University The Emerging Masters Collection, 1954–1989 at the Finney Music Library, University of Pittsburgh has been digitized. Funded by a Grammy Foundation grant of $11,461, the entire collection of 420 reel-to-reel tapes has been reformatted. The core of the recordings focuses on contemporary music by composers affiliated with the University of Pittsburgh, as well as major performers of this repertoire. Works and performances by local musicians are also represented, including vocal recitals by Mildred Miller Posvar; jazz saxophonist/composer, Nathan Davis; jazz pianist, Ulf Johansson; jazz pianist/composer, Geri Allen; pianist William Doppmann; and jazz flutist, Yusef Lateef. Most interesting is the inclusion of recordings by the 415 Players, a local early music ensemble which began performing and recording at the cusp of the early music movement during the late 1960s and the 1970s. Many of the contemporary works, some which have never been commercially released, represent early efforts by composers who have gone on to [End Page 206] major careers. These include David Stock, Reza Vali, Morton Subotnick, Thomas Janson, Dennis Kahle, Dorrance Stalvey, Ingvar Lidholm, and Bo Nilsson. The collection not only codifies the performance history of the Music Department, but also provides a snapshot in time of trends in music composition, performance, and reception. As such, it demonstrates the rich musical heritage of the institution and the City of Pittsburgh, as well as furthers the study of American music. The online collection can be found at https://digital.library.pitt.edu/islandora/object/pitt%3Acollection.306. James P. Cassaro University of Pittsburgh Bowling Green State University’s Music Library and Bill Schurk Sound Archives (MLBSSA) has received a Recordings at Risk grant from the Council on Library and Information Resources (CLIR) to fund a digitization and access project for at-risk filk music materials. The grant program is made possible by funding from the Andrew W. Mellon Foundation. As a musical genre, filk usually revolves around science fiction or fantasy topics. The term filk is used to describe both the musical genre and the active fan community that creates and sustains the music through conventions and gatherings. The project will digitize materials from three interrelated collections that document the filk community in the 1980s, a formative time for filkers as they began record labels, founded many regional filk conventions, and drew new participants to the community. The collections include commercial master recordings from some of the earliest commercial filk record labels in the Wail Songs Collection and Buck and Juanita Coulson Collection as well as field recordings of informal music-making, interviews, and conventions from the Jennifer Donaldson Milewski Collection. The project will allow MLBSSA staff to provide on-site access to the audio materials, to enhance archival description for the collections, and to pursue permissions for wider access. As a result of the grant project, the collections will be more accessible to the filk community, the BGSU...

Quantum arbitrary waveform generator.

Controlling the temporal waveform of light is the key to a versatile light source in classical and quantum electronics. Although pulse shaping of classical light is mature and has been used in various fields, more advanced applications would be realized by a light source that generates arbitrary quantum light with arbitrary temporal waveforms. We call such a device a quantum arbitrary waveform generator (Q-AWG). The Q-AWG must be able to handle various quantum states of light, which are fragile. Thus, the Q-AWG requires a radically different methodology from classical pulse shaping. Here, we invent an architecture of Q-AWGs that can operate semi-deterministically at a repetition rate over gigahertz in principle. We demonstrate its core technology via generating highly nonclassical states with temporal waveforms that have never been realized before. This result would lead to powerful quantum technologies based on Q-AWGs such as practical optical quantum computing.

Analysis of the NTRU Post-Quantum Cryptographic Scheme in Constrained IoT Edge Devices

Research on post-quantum cryptography aims to solve the problematic of modern public-key cryptography being broken by attacks coming from quantum computers in the future and, moreover, by using classical electronics. This task is so critical that the National Institute of Standards and Technology (NIST) is in the final process of standardizing post-quantum schemes for the future protection of embedded applications. Though there are some research work done on embedded systems, it is important to study the impact of these proposals in realistic environments for the Internet of Things (IoT), where the limited computational resources and the strict requirements for power consumption can become incompatible with the usage of cryptographic schemes. In this work, the performance of one of the finalists of the standardization process called NTRU is studied and implemented in a custom wireless sensor node designed for applications in the extreme edge of the IoT. The cryptosystem is implemented and evaluated within the processes of the Contiki-NG operating system. Furthermore, additional experiments are performed to check if commonly integrated hardware peripherals for cryptography inside modern microcontrollers can be used to achieve better performance with NTRU, not only at the single node level but also at the network level, where the NTRU key encapsulation mechanism is tested in a real communication process. The results derived from these experiments show that NTRU is suitable for modern microcontrollers targeting wireless sensor networks design, while old devices present in popular platforms might not afford the cost of its implementation.

Effects of Sound Wave and Water Management on Growth and Cd Accumulation by Water Spinach (Ipomoea aquatica Forsk.)

Vegetable contamination by cadmium (Cd) is of great concern. Water spinach (Ipomoea aquatica) is a common leafy vegetable in many countries and has a strong ability to accumulate Cd. The work was conducted to study the effects of sound wave, water management, and their combination on Cd accumulation and growth of water spinach, using the following three experiments: a hydroponic trial with the treatment of a plant acoustic frequency technology (PAFT) generator in test sheds, a hydroponic trial with three music treatments (electronic music (EM), rock music (RM), and classical music (CM)) in artificial climate boxes, and a soil pot trial with treatments of PAFT and EM under non-flooded and flooded conditions. The results showed that the hydroponic treatments of PAFT and EM significantly reduced the Cd concentrations in roots and shoots (edible parts) of water spinach by 22.01–36.50% compared with the control, possibly due to sound waves decreasing the root tip number per unit area and increasing average root diameter, root surface area, and total root length. Sound wave treatments clearly enhanced water spinach biomass by 28.27–38.32% in the hydroponic experiments. In the soil experiment, the flooded treatment significantly reduced the Cd concentrations in roots and shoots by 43.75–63.75%, compared with the non-flooded treatment. The Cd decrease and the biomass increase were further driven by the PAFT supplement under the flooding condition, likely related to the alteration in root porosity, rates of radial oxygen loss, extractable soil Cd, soil Eh, and soil pH. Our results indicate that the co-application of plant acoustic frequency technology and flooded management may be an effective approach to reduce Cd accumulation in water spinach.

Room-Temperature Deep-UV Photoluminescence from Low-Dimensional Hexagonal Boron Nitride Prepared Using a Facile Synthesis.

Identification and evaluation of defect levels in low-dimensional materials is an important aspect in quantum science. In this article, we report a facile synthesis method of low-dimensional hexagonal boron nitride (h-BN) and study light emission characteristics due to the defects. The thermal annealing procedure is optimized to obtain clean multilayered h-BN as revealed by transmission electron microscopy. UV–vis spectroscopy shows the optical energy gap of 5.28 eV, which is comparable to the reported energy gap for exfoliated, clean h-BN samples. X-ray photoelectron spectroscopy reveals the location of the valence band edge at 2 eV. The optimized synthesis route of h-BN generates two kinds of defects, which are characterized using room-temperature photoluminescence (PL) measurements. The defects emit light at 4.18 eV [deep-UV (DUV)] and 3.44 eV (UV) photons. The intensity of PL has an oscillatory dependence on the excitation energy for the defect emitting DUV light. A series of spectral lines are observed with the energy ranging between 2.56 and 3.44 eV. The average peak-to-peak energy separation is about 125 meV. The locations of the spectral lines can be modeled using Franck–Condon-type transition and associated with displaced harmonic oscillator approximation. Our facile route gives an easier approach to prepare clean h-BN, which is essential for classical two-dimensional material-based electronics and single-photon-based quantum devices.

Spiderweb Array: A Sparse Spin-Qubit Array

One of the main bottlenecks in the pursuit of a large-scale--chip-based quantum computer is the large number of control signals needed to operate qubit systems. As system sizes scale up, the number of terminals required to connect to off-chip control electronics quickly becomes unmanageable. Here, we discuss a quantum-dot spin-qubit architecture that integrates on-chip control electronics, allowing for a significant reduction in the number of signal connections at the chip boundary. By arranging the qubits in a two-dimensional array with about $12\phantom{\rule{0.2em}{0ex}}\ensuremath{\mu}\mathrm{m}$ pitch, we create space to implement locally integrated sample-and-hold circuits. This allows us to offset the inhomogeneities in the potential landscape across the array and to globally share the majority of the control signals for qubit operations. We make use of advanced circuit modeling software to go beyond conceptual drawings of the component layout, to assess the feasibility of the scheme through a concrete floor plan, including estimates of footprints for quantum and classical electronics, as well as routing of signal lines across the chip using different interconnect layers. We make use of local demultiplexing circuits to achieve an efficient signal-connection scaling, leading to a Rent's exponent as low as $p=0.43$. Furthermore, we use available data from state-of-the-art spin qubit and microelectronics technology development, as well as circuit models and simulations, to estimate the operation frequencies and power consumption of a million-qubit array. This work presents a complementary approach to previously proposed architectures, focusing on a feasible scheme to integrating quantum and classical hardware, and identifying remaining challenges for achieving full fault-tolerant quantum computation. It thereby significantly closes the gap towards a fully CMOS-compatible quantum computer implementation.

Oxidation-resistant metallic films: Surface engineering at the angstrom scale

Oxidation-resistant metallic films are of fundamental and practical interest in diverse applications, such as classical and quantum electronics. In a recent paper in <i>Nature</i>, Kim et al. report Cu (111) surfaces which do not oxidize over year timescales owing to their atomic flatness with predominantly mono-atomic steps. This finding highlights how novel functionality of future devices may be achieved through manufacturing with precision at the atomic scale.

Application of Wireless Sensor Network Technology in Multipoint Control in Music Performance Management System.

Keeping in view the overwhelming characteristics of the wireless sensor networks, these networks are constantly being utilized in numerous domains such as industry, healthcare, and music. Aiming at the problem that there is a single-point and multipoint control in the music performance management system, this paper adopts the wireless sensor network multipoint control technology to realize the control of the music performance management system. The system uses TI's CC2430 chip to design the hardware circuit, uses the TinyOS operating system as the software platform of the system, and designs the components of the base station and sensor nodes to achieve data acquisition and transceiver functions. The experimental test shows that the system can realize the multipoint control of the music performance system and has good performance.

Review: Ludified, edited by Marko Ciciliani, Barbara Lüneburg, and Andreas Pirchner

Review: <i>Ludified</i>, edited by Marko Ciciliani, Barbara Lüneburg, and Andreas Pirchner

Perspective on phase-controlled currents in semiconductors driven by structured light

Controlling electrons with ever-greater precision is central to both classical and quantum electronics. Since the invention of the laser, virtually every property of coherent light has been tamed, making it one of the most precise tools available to science, technology, and medicine. Coherent control involves the transduction of an exquisitely defined property of light to an electronic system, imparting coherence to an attribute of its constituent electrons. Early developments in coherent control utilized Gaussian laser beams and spatially averaged measurements. The spatial structure and orbital angular momentum of laser light provide additional degrees of freedom for steering electronic and quasiparticle excitations in condensed matter systems. In this Perspective, we first introduce the concept of coherent control in semiconductors. We then proceed to discuss the application of structured light beams to coherent control and the requirement for spatially resolved current detection. Subsequently, we present an overview of recent experiments that were performed using cylindrical vector beams and laser beams with structured phase fronts. Finally, we provide an outlook on the horizons that have emerged with these developments and future directions of interest.

A hole spin qubit in a fin field-effect transistor above 4 kelvin

The greatest challenge in quantum computing is achieving scalability. Classical computing, which previously faced such issues, currently relies on silicon chips hosting billions of fin field-effect transistors. These devices are small enough for quantum applications: at low temperatures, an electron or hole trapped under the gate can serve as a spin qubit. Such an approach potentially allows the quantum hardware and its classical control electronics to be integrated on the same chip. However, this requires qubit operation at temperatures above 1 K, where the cooling overcomes heat dissipation. Here we show that silicon fin field-effect transistors can host spin qubits operating above 4 K. We achieve fast electrical control of hole spins with driving frequencies up to 150 MHz, single-qubit gate fidelities at the fault-tolerance threshold and a Rabi-oscillation quality factor greater than 87. Our devices feature both industry compatibility and quality, and are fabricated in a flexible and agile way that should accelerate further development.

Research on Multimodal Music Emotion Recognition Method Based on Image Sequence

The work of music performance system is to control the light change by identifying the emotional elements of music. Therefore, once the identification error occurs, it will not be able to create a good stage effect. Therefore, a multimodal music emotion recognition method based on image sequence is studied. The emotional characteristics of music are analyzed, including acoustic characteristics, melody characteristics, and audio characteristics, and the feature vector is constructed. The recognition and classification model based on neural network is trained, the weight and threshold of each layer are adjusted, and then the feature vector is input into the trained model to realize the intelligent recognition and classification of multimodal music emotion. The threshold of the starting point range of a specific humming note is given by the center clipping method, which is used to eliminate the low amplitude part of the humming note signal, extract the short-time spectral structure features and envelope features of the pitch, and complete the multimodal music emotion recognition. The results show that the calculated kappa coefficient k is greater than 0.75, which shows that the recognition and classification results are in good agreement with the actual results, and the classification and recognition accuracy is high.

Music and Cybernetics in Historical Perspective

Introduction| December 01 2021 Music and Cybernetics in Historical Perspective: (Introduction to the special issue edited by Christopher Haworth and Eric Drott) Christopher Haworth Christopher Haworth Christopher Haworth is senior lecturer in music at the University of Birmingham. He researches contemporary and historical electronic musics as they are practiced, theorized, taught, and experienced, using a range of historical, ethnographic, interpretive, and data-driven methods. Christopher is PI on the AHRC Early Career Leadership Fellowship Music and the Internet: Towards a Digital Sociology of Music, and he is currently working on a monograph and edited collection stemming from the project. Although primarily a musicologist these days, he also composes and performs electronic music when he gets the opportunity. Search for other works by this author on: This Site PubMed Google Scholar Resonance (2021) 2 (4): 461–474. https://doi.org/10.1525/res.2021.2.4.461 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Christopher Haworth; Music and Cybernetics in Historical Perspective: (Introduction to the special issue edited by Christopher Haworth and Eric Drott). Resonance 1 December 2021; 2 (4): 461–474. doi: https://doi.org/10.1525/res.2021.2.4.461 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentResonance Search There is nothing especially surprising or controversial in observing the significant influence that cybernetics exerted on music, especially in its heyday during the 1940s, ’50s, and ’60s. Indeed, it is hard to see how things might have been otherwise. Cybernetics was distinct from traditional sciences in aspiring to create a universal interdiscipline that patched together the probabilistic worldview of information theory and the flattened abstractions of systems theory.1 Its founding Macy conferences of 1946–53 assembled a cross-disciplinary network of intellectuals, the majority of whom worked in what would now be termed STEM disciplines, but some (and some of the most influential) were drawn from social science, linguistics, literary theory, and management theory.2 Many of the scientists were returning to universities having undertaken war research, and the specter of totalitarianism shaped the overarching ethos of collaboration and cooperation that both the conferences and cybernetics itself would embody.3 Some... You do not currently have access to this content.

Quantum communication with itinerant surface acoustic wave phonons

Surface acoustic waves are commonly used in classical electronics applications, and their use in quantum systems is beginning to be explored, as evidenced by recent experiments using acoustic Fabry–Pérot resonators. Here we explore their use for quantum communication, where we demonstrate a single-phonon surface acoustic wave transmission line, which links two physically separated qubit nodes. Each node comprises a microwave phonon transducer, an externally controlled superconducting variable coupler, and a superconducting qubit. Using this system, precisely shaped individual itinerant phonons are used to coherently transfer quantum information between the two physically distinct quantum nodes, enabling the high-fidelity node-to-node transfer of quantum states as well as the generation of a two-node Bell state. We further explore the dispersive interactions between an itinerant phonon emitted from one node and interacting with the superconducting qubit in the remote node. The observed interactions between the phonon and the remote qubit promise future quantum-optics-style experiments with itinerant phonons.

Research on Music Emotion Intelligent Recognition and Classification Algorithm in Music Performance System

The music performance system works by identifying the emotional elements of music to control the lighting changes. However, if there is a recognition error, a good stage effect will not be able to create. Therefore, this paper proposes an intelligent music emotion recognition and classification algorithm in the music performance system. The first part of the algorithm is to analyze the emotional features of music, including acoustic features, melody features, and audio features. Then, the three kinds of features are combined together to form a feature vector set. In the latter part of the algorithm, it divides the feature vector set into training samples and test samples. The training samples are trained by using recognition and classification model based on the neural network. And then, the testing samples are input into the trained model, which is aiming to realize the intelligent recognition and classification of music emotion. The result shows that the kappa coefficient k values calculated by the proposed algorithm are greater than 0.75, which indicates that the recognition and classification results are consistent with the actual results, and the accuracy of recognition and classification is high. So, the research purpose is achieved.

Classical electronic and molecular dynamics simulation for optical response of metal system.

An extended molecular dynamics simulation that incorporates classical free electron dynamics in the framework of the force-field model has been developed to enable us to describe the optical response of metal materials under the visible light electric field. In the simulation, dynamical atomic pointcharges follow equations of motion of classical free electrons that include Coulomb interactions with the oscillating field and surrounding atomic sites and collision effects from nearby electrons and ions. This scheme allows us to simulate an interacting system of metals with molecules using an ordinary polarizable force-field and preserves energy conservation in the case without applying an external electric field. As the first applications, we show that the presented simulation accurately reproduces (i) the classical image potential in a metal-charge interaction system and (ii) the dielectric function of bulk metal. We also demonstrate (iii) calculations of absorption spectra of metal nano-particles with and without a water solvent at room temperature, showing reasonable red-shift by the solvent effect, and (iv) plasmon resonant excitation of the metal nano-particle in solution under the visible light pulse and succeeding energy relaxation of the absorbed light energy from electrons to atoms on the metal and to the water solvent. Our attempt thus opens the possibility to expand the force-field based molecular dynamics simulation to an alternative tool for optical-related fields.

Precarity and Community

Research Article| October 01 2021 Precarity and Community Ambrose Akinmusire; Ambrose Akinmusire Search for other works by this author on: This Site Google İlhan Erşahin; İlhan Erşahin Search for other works by this author on: This Site Google Matthew Garrison; Matthew Garrison Search for other works by this author on: This Site Google Matthew Golombisky; Matthew Golombisky Search for other works by this author on: This Site Google Linda May Han Oh; Linda May Han Oh Search for other works by this author on: This Site Google Ben Ratliff; Ben Ratliff Search for other works by this author on: This Site Google Camille Thurman; Camille Thurman Search for other works by this author on: This Site Google Natalie Weiner; Natalie Weiner Search for other works by this author on: This Site Google Fumi Okiji; Fumi Okiji FUMI OKIJI is a researcher who looks to Black expression for alternative ways to understand the inadequacies of modern and contemporary life. Okiji explores how Black and Africana music, sound cultures, and expression, more broadly, provide the basis of a critical theory. Okiji’s approach is thoroughly interdisciplinary, drawing from Black radical thought and expression, critical theory, sound studies, and musicology. She is the author of Jazz as Critique: Adorno and Black Expression Revisited (Stanford University Press, 2018) and is currently working on a second book project, tentatively entitled Billie’s Bent Elbow: The Standard as Revolutionary Intoxication. Search for other works by this author on: This Site Google Kwami Coleman Kwami Coleman moderated by KWAMI T. COLEMAN is an assistant professor of music at the Gallatin School of Individualized Study at New York University. His research is focused on improvised and experimental music, aesthetics, and identity in postwar American music history. His forthcoming book is titled Change: Modern Jazz and the “New Thing.” Coleman is a pianist, composer, and electronic musician; his first recording as an ensemble leader, Local Music, was released in 2017. Search for other works by this author on: This Site Google Jazz and Culture (2021) 4 (2): 105–120. https://doi.org/10.5406/jazzculture.4.2.0105 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Ambrose Akinmusire, İlhan Erşahin, Matthew Garrison, Matthew Golombisky, Linda May Han Oh, Ben Ratliff, Camille Thurman, Natalie Weiner, Fumi Okiji, Kwami Coleman; Precarity and Community. Jazz and Culture 1 January 2021; 4 (2): 105–120. doi: https://doi.org/10.5406/jazzculture.4.2.0105 Download citation file: 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 Scholarly Publishing CollectiveUniversity of Illinois PressJazz and Culture Search Advanced Search The text of this article is only available as a PDF. Copyright 2021 by the Board of Trustees of the University of Illinois2021 Article PDF first page preview Close Modal You do not currently have access to this content.

Embodied Philology

A collaboration between actors and musicians of Tashkent, Uzbekistan, and Almaty, Kazakhstan, and local electronic musician and community activist Brother El of Chicago highlights the difficulties of translating embodied performances of race and ethnicity in a transnational post–Cold War context. In a comparative reading taking up a play by the Ilkhom Theatre of Tashkent alongside its citation in the Chicago collaboration, the framework of “embodied philology” exposes the limits of post–Cold War international political alignment.

The integrative model for the semantic space of music and a contemporary musical educational process: the scientific and creative heritage of Mikhail Borisovich Ignatyev

The advent of computer technology has led to the creation and development of new forms of teaching musical art. The emergence of music computer technologies (MCT) was the basis for creating both new forms in the educational process and new subjects, the appearance of new disciplines and new educational trends in the system of a contemporary musical education. These new subjects, such as “Musical Informatics,” “Computer Music Creative Work,” “Computer Arrangement and Composition, Sound and Timbre Programming,” “Electronic Musical Instruments” and many others, fully reflect the essence of the changes that have occurred in approaches to the study of music art. This article analyzes the possibility of including an integrative model for the semantic space of music, developed with the participation of the prominent cybernetics, scientist Mikhail Borisovich Ignatyev, in a contemporary musical educational process.