Longitudinal music perception performance of postlingual deaf adults with cochlear implants using acoustic and/or electrical stimulation

Son A Chang,Sujin Shin,Sungkeong Kim,Yeabitna Lee,Eun Young Lee,Hanee Kim,You-Ree Shin,Young-Myoung Chun 한국음성학회 2021 말소리와 음성과학 Vol.13 No.2

In this study, we investigated longitudinal music perception of adult cochlear implant (CI) users and how acoustic stimulation with CI affects their music performance. A total of 163 participants" data were analyzed retrospectively. 96 participants were using acoustic stimulation with CI and 67 participants were using electrical stimulation only via CI. The music performance (melody identification, appreciation, and satisfaction) data were collected pre-implantation, 1-year, and 2-year post-implantation. Mixed repeated measures of ANOVA and pairwise analysis adjusted by Tukey were used for the statistics. As result, in both groups, there were significant improvements in melody identification, music appreciation, and music satisfaction at 1-year, and 2-year post-implantation than a pre-implantation, but there was no significant difference between 1 and 2 years in any of the variables. Also, the group of acoustic stimulation with CI showed better perception skill of melody identification than the CI-only group. However, no differences found in music appreciation and satisfaction between the two groups, and possible explanations were discussed. In conclusion, acoustic and/or electrical hearing devices benefit the recipients in music performance over time. Although acoustic stimulation accompanied with electrical stimulation could benefit the recipients in terms of listening skills, those benefits may not extend to the subjective acceptance of music. These results suggest the need for improved sound processing mechanisms and music rehabilitation.

Computer Aided Composition, Timbral Synthesis, & Electro-Acoustic SuperInstruments: An Exploration of Heaviness in Electro-Acoustic Chamber Music

Nolan Hildebrand 한국전자음악협회 2022 에밀레 Vol.20 No.-

In his article 'Reigen seliger Geister' (On My Second String Quartet) (2004), Helmut Lachenmann used the term super-instrument to describe moments in his work where the string quartet is treated homophonically as a single “16-stringed sonic mechanism” through “unison sound and unison rustling, i.e. the synchronous multiplication or amplification of sound or noise” (2004, p. 62) and/or the “parallel deployment of tones greatly separated in sonic space” (2004, pp. 64). In my Masters Thesis composition “Tripping in the Horror Vacui” for amplified violin, amplified cello, and amplified piano with electronics, Lachenmann’s idea of the super-instrument is extended with digital music technology and electro-acoustic tools such as computer aided composition, timbral synthesis, live processing, and multichannel spatialization. By utilizing computer aided composition, the composer/author derived pitch information from noisy samples of raw data sonfications used in the work’s fixed media/“tape track”. This pitch material derived from the raw data sonifications in the fixed media is then mapped to the performer’s instrumental writing to create homophonic textures. The material between the performers and the fixed media is then synthesized in the performance space with either a stereo or 7.1 multichannel speaker setup to create a huge and distorted electro-acoustic super-instrument. Creating these electro-acoustic super-instruments in my own works allows me to sculpt enormous melodic gestures that stretch out over the multichannel speaker setup thus also incorporating the “parallel deployment of tones greatly separated in sonic space” (2004, pp. 64). In Tripping in The Horror Vacui, these larger-than-life electro-acoustic superinstruments embody a maximalist aesthetic to create a heavy and sublime experience that overwhelms the audience through metal music tropes, density, intensity, and amplitude.

Otto Laske and the Visualization of Electro‐Acoustic Music: Laske’s Visual Music Animations

Nico Schuler(니코 쉴러) 한국전자음악협회 2020 에밀레 Vol.18 No.-

Otto Laske (b. 1936), a pioneer of computer music and the founder of “Cognitive Musicology” (which roots in such disciplines as musicology, philosophy, computer science, psychology, linguistics, semiotics, and sociology), combined his research with his artistic activities: initially composition and writing of poetry, later also digital art. This paper provides some biographical, artistic, and research background of Laske’s theories to explain his electro‐acoustic music (1966‐2009) and his artistic fulfillment in the visualization of his electro‐acoustic music (2011‐2012). For these animations, individual frames became the ‘negatives’, on which he bases his work in the visual arts. This art is musically inspired throughout, with a focus on flow, tension, conflict, and movement. In his visualizations, animation ‘objects’ carry visual images or even a sequence of images, and while the images move against and through each other, their colors, shapes, and textures follow the flow of the music. Laske treats an animation still as the visualization of a set of pixel‐level parameters that define the shapes, colors, textures, and dynamic characteristics of an image. Working with Cinema 4D, Studio Artist, and Photoshop, Laske’s work is highly creative. Several of Laske’s Visualizations are being explored and holistically viewed within the framework of his lifework.

탈경계 시대의 예술-사운드 아트 퍼포먼스와 현대음악의 유사점과 차이점: 사운드 아티스트 3팀의 작품을 중심으로

김자현,장민호 한국문화산업학회 2017 문화산업연구 Vol.17 No.4

This study attempts to find similarities and differences by comparing the two genres, “Sound Art Performance” and “Contemporary Music,” which is becoming increasingly unclear. The sound art performance, which was the target of the analysis, was played during the <2017 Sound Art Creation Festival> held from October 31st to November 12th 2017. It was selected among performances that has small number of instruments. After discovering the musical characteristics of the sound art performance, representative works of contemporary music genre with similar characteristic were selected and compared. The summary of the main results of the study is as follows : First, sound art performances and contemporary music have similarities in the way they produce sound material and the way they play. Second, the sound art performance and contemporary music have found differences in the presence of musical scores, the range of improvisation and indeterminacy, and the importance of sound material. This study has limitations in the face that the number of comparative analysis is small and the details of the sound art performance used for analysis differ every time. However, considering that there has been no study of musical aspects related to sound art performance, I expect that active research will arise in the future starting from this paper. Therefore, we will be able to conceive a follow-up study by supplementing the limit of research mentioned above and increasing the number of analysis population. 본 연구에서는 점차 경계가 불분명해지고 있는 두 예술장르인 ‘사운드 아트 퍼포먼스’와 ‘현대음악’을 비교함으로써 두 장르의 유사점과 차이점을 발견하고자 하였다. 분석의 대상이 된 사운드 아트 퍼포먼스는 2017년 10월 31일부터 11월 12일에 걸쳐서 열린 <2017 사운드아트 창작페스티벌> 기간 중 연주된 작품 중에서 연주 인원이 적고, 악기 편성이 단순하여 악보 없이 실황녹음 음원만으로 음악 분석이 가능한 연주 중에서 선정하였다. 분석 작품으로 선정된 사운드 아트 퍼포먼스의 음악적 특성을 발견한 후 이와 비슷한 특성을 가진 현대음악 장르 중 대표적 작품을 선정하여 비교하였다. 연구의 주요 결과를 요약하면 다음과 같다. 첫째, 사운드 아트 퍼포먼스와 현대음악은 소리 소재를 발생시키는 방식과 연주를 진행시켜나가는 방식에서 유사점이 발견되었다. 둘째, 사운드 아트 퍼포먼스와 현대음악은 악보의 유무, 그리고 즉흥성과 우연성의 범위, 마지막으로 소리 소재의 중요성 면에서 차이점이 발견되었다. 본 연구는 비교 분석 개체수가 적다는 점, 그리고 분석에 사용한 사운드 아트 퍼포먼스의 세부내용이 매번 연주할 때마다 달라진다는 점에서 한계가 있다. 하지만 사운드 아트 퍼포먼스에 대한 음악적 관점에서의 연구가 국내에는 그동안 없었다는 점을 봤을 때, 본 논문을 시작으로 앞으로 활발한 연구가 생겨날 수 있을 것이라는 기대를 해본다. 따라서 앞서 언급한 연구 한계를 보완해나가고, 분석 개체수를 늘려 나가는 방법으로 후속 연구를 구상할 수 있을 것이다.

SoundLab and Electroacoustic Music in Hong Kong

Ryo Ikeshiro(료 이케시로),PerMagnus Lindborg(퍼마그너스 린드보르그) 한국전자음악협회 2021 에밀레 Vol.19 No.-

The paper introduces SoundLab, a 3D spatial audio research and practice unit at the School of Creative Media, City University of Hong Kong, co-directed by PerMagnus Lindborg and Ryo Ikeshiro, and serves as a progress report. It begins with a description and its objectives involving research, artwork, teaching and outreach. It then gives a brief account of the local context of electroacoustic music in Hong Kong both in academia and in independent music and art scenes to which SoundLab aims to contribute through its activities. The overview is partly based on preliminary findings from an ongoing study based on interviews with local musicians and artists. It is followed by the design of a hemispherical loudspeaker array dedicated to high spatial resolution audio, developed after consulting a number of academic institutions with comparable facilities and programmes. Details concerning the space, equipment and usage are considered. Future plans in relation to its objectives are given in closing.

인식적 청취에서 촉각적 소리 경험으로: 구체음악과 ASMR 음악 작품의 경계 가로지르기

박수인 이화여자대학교 음악연구소 2022 이화음악논집 Vol.26 No.4

이 논문은 최근 실험적 현대음악 분야에서 나타나기 시작한 ASMR을 사용한 음악 작품(이하 ASMR 음악 작품)을 구체음악과 연계해서 살핀다. 최근 나타나기 시작한 ASMR 음악 작품을 통해 20세기 중반 나타난 일렉트로 어쿠스틱 음악의 현재성을 밝히는 것이 이 논문의 목적이다. 이를 위해 구체음악과 ASMR 음악 작품의 작곡 방법을 각각 살피고 각각이 공유하거나 차별화되는 부분을 비교함으로써, 상이한 작곡 방법에 따른 청취 경험 방식의 변화를 밝힌다. 구체음악과 ASMR 음악 작품은 모두 일상적 소리를 녹음해 이를 스피커와 같은 오디오 장치로 확성시킨다. 그러나 구체음악에서는 녹음한 소리가 가속, 확장, 분절 같은 방식으로 왜곡되어 소리 자체의 추상적 음악 구조를 듣게 되는 것과 달리, ASMR 음악 작품에서는 맥락과 분리되지 않는 작고 미세한 소리가 스피커로 송출되는 ‘확대된’ 작은 소리를 통해 소리를 발생시키는 대상의 물리적 속성을 촉각적으로 감각하게 된다. 그럼으로써 ASMR 음악 작품은 특정 소리를 전체 음악 구조의 일부로 파악해 논리적으로 인식하기 이전에 신체적으로 경험하는, 최근 나타난 감각적 전회(sensory turn)에 대한 청취 문화의 경우를 대변하는 한 가지 본보기가 된다.