About This Issue

Abstract

Translate Article

This issue’s guest editors—Ken Déguernel, Bob L. T. Sturm, Artemi-Maria Gioti, and Georgina Born—had issued a call in 2022 for papers with the theme “Musical Interactivity in Human–AI and AI–AI Partnerships.” The call requested submissions that address how people interact with artificial intelligence software and how these interactions shape and impact creative and artistic musical practices (and vice versa). Seven submissions were chosen for a special issue of Computer Music Journal, spanning both the present issue and the next one. In this issue’s Editors' Notes, the guest editors provide insights into the special issue’s theme, followed by descriptions of the five articles that appear in the current issue.The issue’s guest editors were also the curators for the accompanying Sound and Video Anthology, containing computer music compositions that correspond to the special issue. See the anthology’s program notes near the end of this issue, and hear the anthology’s media files at https://doi.org/10.1162/COMJ_e_00660.Front cover. Setup for “Prestidigitation” for percussion and 3-D electronics by Aaron Einbond, from the article by Einbond et al. The composition uses a machine learning model trained on a database of acoustic instruments' radiation patterns. It also incorporates a computer improvisation algorithm that reacts in real time to the timbres of the percussionist’s instruments. For further information, see the articles by Einbond et al. and Gioti, Einbond, and Born.We extend our thanks to the guest editors, the authors of the articles, and the composers and performers of the works in the anthology.As usual, Jeff Morris has assembled this issue’s News section, Ross Feller has edited the annual anthology’s program notes, and Margaret Cahill has handled the Products of Interest. We welcome a new managing editor, Louise Harris of the University of Glasgow, who during the production of this issue has taken the reins from Peter Castine. Peter decided to retire from that position, whose responsibilities he had executed capably and diligently, and we are glad that he is continuing in his other role as a manuscript editor par excellence.— Douglas KeislarBack cover. In this illustration from the article by Erdem et al., the first author improvises on electric guitar while interacting with a “coadaptive audiovisual instrument” (CAVI), seen at right. Based on the performer’s muscle and motion data, CAVI controls signal-processing modules that alter the sound of the performer’s instrument (which need not be a guitar). In this performance, six self-playing guitars enrich the musical texture.