Japanese Society for Sonic Arts is a research consortium whose goal is computer music creation and analysis. Activities include research meetings, tutorials, computer music concerts. Computer music here represents advanced art music which incorporates engineering technologies.

The starting time was changed to 15:00 because of the first lecturer's flight delay.
Mr. Miyama's lecture is placed to the last. However it might be cancelled please follow twitter at @JSSA_Info for timely information.

Time:
Saturday, December 18th, 2010, 15:00-19:00

Place:
Tokyo Denki University, Kanda Campus, Ochanomizu Annex Conference Room (4th floor)
Access information in English is included at the end of this invitation.

Admission is free.


Program:
15:00-15:30
A proposal for Asia Computer Music Project
Naotoshi Osaka (Tokyo Denki University)

15:50-16:30
Karlheinz Stockhausen at Expo'70, Osaka: A snapshot of the West German Pavilion
Masuzo Yanagida (Doshisha University)

16:30-17:10
Space Concept in Stockhausen’s Musical Thinking
Mikako Mizuno (Nagoya City University)

-Break-

18:00-19:00
The Development of 3D Non-Haptic Performance Interface and Its Application to Musical Works
Chikashi Miyama (The State University of New York at Buffalo)

－ Lecture －

Lecturer:
Naotoshi Osaka (Tokyo Denki University)

Title:
A proposal for Asia Computer Music Project

Abstract:
Since the birth of computer music, the constant progress of technology and music itself have made music to be in a state of constant change. The international conference has functioned well as a medium for music presentation. Before the last decade, only a few international conferences and festivals existed and all musicians attended. Presently, various kind of international events are running and presentation opportunities increases. Despite all of this, Japan is not organizing these conferences. On the other hand, neighboring Asian countries are organizing international conferences. However, these are mostly domestic conferences as opposed to real international ones. Judging from such an analysis result, A regional event, ACMP (Asia Computer Music Project) is proposed. ACMP 2010 Korea and Japan was held on October 12th, this year. A report on this event and a future plan is discussed.


Lecturer:
Masuzo Yanagida (Doshisha University)

Title:
Karlheinz Stockhausen at Expo'70, Osaka: A Snapshot of the West German Pavilion

Abstract:
The author has valuable experience to have worked with the West Germany Pavilion at Expo'70, held in Osaka in 1970, as a mixer of its Auditorium, in which Karlheinz Stockhausen presented live performance staying whole the six months of the exposition period. This report is a brief description of Stockhausen and his music based on barely remaining memories. The Auditorium was a Rahmen-structured sphere of about 30m in diameter. The audience was made sit down on cushions laid on the floor of metalic grating set at the level of about one third of the total height of the sphere, inside which 53 sets of loudspeaker unit, consisting of 13 loudspeakers each, were placed on the inside wall of the sphere in the direction of equi solid angles seen from the center except a large sub-woofer at the bottom of the sphere. The loudspeakers were driven by 7 channel pre-amplifier through a connecting matrix board. An additional special tool to rotate sound images on the wall was prepared for live performance by Stockhausen. The console, set on the performance stage, was equipped with various kinds of sound generators, filters and modulators. Stockhausen played "Spiral" most often exploitng the functions of the Auditorium specially designed for his "Raum Musik".


Lecturer:
Mikako Mizuno (Nagoya City University)

Title:
Karlheinz Stockhausen at Expo'70, Osaka: Space Concept in Stockhausen's Musical Thinking

Abstract:
Space concept has been a crucial element for music since the avantgarde composers of the latter half of 20th century realized their spatial ideas. Iannis Xenakis created musicque stochastique after the collaboration with Le Corbusier for some architecture projects, which had led analogy between architectural space and musical one. The pieces of including Mauricio Kagel took the visual elements in music, so the performer’s gesture and the theatrical context inevitably related to the musical sound. In this presentation I will mention Stockhausen’s space concept as a musical element, comparing to those of the other contemporary composers. I will refer to , and his text Musik im Raum, not to speak of Expo70 in Osaka.


Lecturer:
Chikashi Miyama (The State University of New York at Buffalo)

Title:
The Development of 3D Non-Haptic Performance Interface and Its Application to Musical Works

Abstract:
This paper introduces a newly designed 3D non-haptic performance interface, Peacock. Peacock’s hardware design, OpenGL-based monitoring software, system evaluation, musical applications, and future plans are traced. Employing Axel Mulder’s human movement tracking categorization, the Peacock system is compared with other significant motion tracking systems, such as Hands by Michel Waisvisz and SoftVNS by David Rokeby. Finally, the advantages of the Peacock system for practical performance is discussed.




Contact:
Kazuaki Shiota
office[at]jssa.info

Transportation:
Ochanomizu Annex, Kanda Campus, Tokyo Denki University, (Ogawamachi 2-12, Kanda-Nishikicho, Chiyodaku)
A map can be found at this URL: hhttp://www.jssa.info/access.pdf
The building is three minues closer by foot to the JR Ochanomizu Station than the Main building. Please refer to the map.
Station name (Line name) walking time:

JR:
Ochanomizu (Chuo-line and Sobu line) 5min. walk
Kanda (Yamanote-line and Keihin-tohoku line) 8min. walk

Subway:
Awaji-cho (Marunouchi-line) Exit B5, 1min. walk
Shin-Ochanomizu (Chiyhoda-line) Exit B7, 1min. walk
Ogawamachi (Toei-SHinjuku line) Exit B7, 1min. walk
Jinbo-cho (Hanzomon-line and Toei-Mita-line) Exit A7, 8min. walk
Kanda (Ginza-line) Exit 1, 8min. walk
Takebashi (Tozai-line) Exit 3B, 8min. walk