Array, the journal of the International Computer Music Association

Bernard Merkowitz, Jennifer

3
Letter from the President
by Tae Hong Park
September 1, 2011
Dear ICMA Members,
It was wonderful seeing many of  you at 
the 2011 ICMC hosted by Huddersfield 
University. For those members who 
were not at the conference this 
year, I am happy to report that the 
conference chair, Michael Clarke, 
and his team did a fantastic job in 
organizing and running the conference, 
thus providing the delegates with an 
intense yet relaxing and very enjoyable 
conference experience. It was indeed 
a very successful conference, and I am 
certain that it will be a memorable 
one for many years to come. Looking 
towards next year, the 2012 ICMC will 
be chaired by Miha Ciglar and will 
be held in Ljubljana, the capital and 
largest city in Slovenia. It is the first 
time in the long history of  ICMA that 
the conference’s annually changing 
“home” will be in this region. I hope 
to see many of  our current and new 
members, as Miha Ciglar is planning 
numerous exciting events within the 
basic framework of  the structure of  
ICMC conferences.
We are also happy to announce that 
the 2013 ICMC will be hosted in Perth, 
Australia. The conference, which will 
be co-chaired by Cat Hope and Lindsay 
Vickery, is yet another first for the ICMC 
record books, as it will mark the first 
time that our conference will be held in 
Australia.
To help our conference organizers, we 
are currently in the midst of  creating a 
permanent conference submission site for 
future ICMCs and are planning to have it 
on-line in time for 2012 and subsequent 
ICMCs.  This service will be provided 
free to our future ICMC hosts. We are, 
however, also investigating possibilities of  
offering it to other organizers as a service 
to our computer music community. In lieu 
of  the submission site, we are also set on 
building a computer music archive that 
will be based on “music” submissions to 
the ICMC conferences. This will entail 
storing of  audio files, program notes, 
technical details, various metadata, and 
other important information fields to 
preserve, archive, and provide a hub for 
research, study, and exploration of  our 
music to the general public.
Other ICMA updates for this year include 
an increase in the number of  $100 ICMC 
student scholarships form 40 to 50; the 
addition of  a new policy whereby senior 
ICMA members can now receive senior 
discounts towards ICMC registration 
Letter from the Presidentarray
4
fees; and giving away banquet ticket 
prizes at the membership meeting for the 
2012 ICMC. These are just some of  the 
activities ICMA has been engaged in, and 
we hope to have more exciting news for 
you soon.
We are always interested in hearing from 
potential ICMC conference hosts. If  
you would like information, have any 
questions regarding what hosting an 
ICMC is all about, or are considering 
organizing an ICMC conference please 
do not hesitate to contact the VP for 
Conferences Meg Schedel and me (the 
most up-to-date email addresses can be 
found on the ICMA website).  
If  you have any other questions, 
suggestions, comments, or concerns 
regarding the ICMA or the ICMC, please 
do not hesitate to contact me or the 
appropriate ICMA directors or officers. 
We hope to see y’all at the 2012 ICMC in 
Ljubljana!
Tae Hong Park
Associate Professor
Georgia State University School of  Music
Letter from the Editor
It is my pleasure to bring you the 2010-11 
issue of  Array.  Some of  the content in this 
issue has already appeared on our blog, 
which has been up and running since last 
November at http://arrayblog.wordpress.
com.  It is our hope that the blog will 
continue to allow for a more frequent 
release of  content with an opportunity for 
member feedback.  If  you have not already 
done so, please point your RSS readers to 
the blog and be notified when new articles 
are posted. 
If  you would be willing to write something 
for Array, have feedback about this issue, 
ideas for future issues or blog posts, or have 
materials you would like reviewed, please 
send email to array@computermusic.org. 
Lists of  items that are available for review 
will be posted on the Array blog periodically. 
Those interested in writing a review should 
also include a mailing address and any 
particular items or areas of  interest, so that 
we can send you the appropriate materials. 
CD/DVD and book reviewers will be able 
to keep review copies free of  charge. Please 
consider contributing; the success of  Array 
depends on input from its readers.
This issue will be my last as editor.  A new 
editor will be announced soon.  I have 
enjoyed working on Array since 2007, and I 
Tae Hong Park 2010/2011


English

Letter from the Editor

Haworth, Christopher

5 6
Letter from the President
by Tom Erbe
August 31, 2014
Dear ICMA Members,
I am very happy to see a new issue of  
Array, just in time for the 2014 ICMC 
in	Athens,	Greece.	This	is	our	first	
issue	since	2011,	and	the	first	issue	with	
our new Array Editor, Christopher 
Haworth. I’m thankful for Christopher’s 
contribution to the ICMA, and hope 
that this means we will return to a 
yearly publication schedule.
I want to take a moment to thank 
all of  our new and our continuing 
board members. These are completely 
voluntary, uncompensated positions, 
and without the generous donation of  
time and energy, the ICMA and ICMC 
would not continue.
This year is somewhat of  a reboot of  
the ICMA, with many new faces joining 
us on the ICMA board, or as ICMA 
officers.	In	addition	to	Christopher	
Haworth as our Array Editor, I would 
also like to welcome Arshia Cont of  
IRCAM as our new European Regional 
Director, Eric Honour of  the University 
of  Central Missouri as our new American 
Regional Director, PerMagnus Lindborg 
of  the Nanyang Technological University 
as our new Music Coordinator, and 
Michael Gurevich of  the University of  
Michigan as our new VP of  Membership. 
And	of 	course,	this	is	my	first	year	as	
President of  the ICMA.
With such change, it will probably take 
us a few beats before we can get things 
going smoothly, but soon we’ll be able 
to maintain the high level of  excellence 
set by our former president, Tae Hong 
Park. Under his direction, we have 
accomplished many important things. 
First in my mind is the online archive 
(at the University of  Michigan) of  all 
papers presented at the ICMC since 1974. 
Having this online will expose anyone 
interested in computer music and audio 
to the important work our members 
have done over the years. Second are the 
student travel grants. It is very important 
to us to encourage new researchers to 
present their work at the ICMC, and 
the travel grants aim to reduce one 
potential obstacle. Finally, Tae Hong 
has maintained the consistent excellence 
of  the ICMC conference, keeping it a 
truly diverse and international forum for 
computer music research.
In the upcoming year, we have several 
goals. First is to increase the student travel 
scholarships. Second is to increase the 
Letter from the President Letter from the Editor
communication between the ICMA and 
our members through social media, email, 
and of  course, this publication. Third, 
we plan to collaborate with the Electro-
Acoustic Music Mine project to archive 
all of  the music performed at the ICMC 
(NYU libraries have committed their 
support, and server space, for this project). 
We anticipate this will be as important a 
research resource as the ICMC proceedings 
archive at the University of  Michigan. 
Finally, we are committed to our main 
purpose, putting on and improving the 
yearly ICMC conference. And for this, we 
are always looking for potential conference 
hosts. If  you have any interest in hosting, 
please contact our Vice President for 
Conferences, Meg Schedel, or myself.
For all these activities, we rely on your 
input, comments, and participation. Please 
feel free to contact us with any suggestions, 
ideas, or concerns.
Hope to see you in Athens!
Tom Erbe
President, ICMA
Associate Professor of  Computer Music, 
UC San Diego
Letter from the Editor
by Christopher Haworth
As Tom mentioned, we are keen to have 
Array return to an annual publication 
schedule as of  this year. The next issue 
will be broadly directed to a theme: 
the changing relationship between ‘art’ 
and ‘popular’ musics in the computer 
music community. Ten years ago, genres 
such as noise, electonica and electronic 
dance	music	were	represented	at	‘off-
ICMC’ concerts; fringe events scheduled 
simultaneously with the main conference. 
But the introduction of  club events and 
late night concerts, not to mention the rise 
of  boundary genres such as live coding, 
suggest that important changes are taking 
place. If  you have something to say about 
this changing relationship, either as a 
concert-goer, composer, or otherwise, then 
please get in touch with me at the address 
below. We are keen to hear from you.
As always, Array needs reviewers. If  you 
would like to write about a publication, 
concert, new record, or similar, then 
again, write to me at address below.
Finally, I’d like to say a big thank you to 
the former editor, Scott McLaughlin. 
Much of  the credit for this larger-than-
usual issue goes to him.  
array.journal@gmail.com. 
array 2010/2011
6
3 4


Alessandrini, Patricia

Not All Ideas are the Same

Hope, Cat

Featured Article: Notating electronics

Buckley, Robin

Review: Is Marcus Schmickler’s Palace of Marbles a Radical Political Album?

Radford, Laurie

Book Review

--, -

In my experience ofthe installation, at first
the breath and depth of hand motion
required to influence the audio was
unclear, but after a couple of iterations, I
was able to adapt my movements
accordingly. Although the description
mentioned multiple sound sources, it
seemed possible only to manipulate a
single broadband noise source. The artist
makes references to “sonification” and
“physical cognition” in the description,
but it was difficult to determine the extent
to which this project has introduced
innovations to the existing collection of
Leap Motion-controlled sound synthesis
applications.
ICMC2018 Awards
ICMAMusic Awards
The Regional Award for the Americas
went to Chi Wang, University ofOregon,
for Peony Garden for live electronics. Jury
motivation: "For its unique way of using
the Wiimote for sonic transformations.
The Regional Award for Asia/Oceania
went to Jaeyoung Park, for Dysthymia, a
computer-aided acoustic composition.
Jury motivation: "For its adoption of a
structured process to reflect the
composer's perspective as an observer,
mixing synthesized and recorded sounds."
The Regional Award for Europe went to
Andreas Weixler and Se-Lien Chuang,
both at Anton Bruckner Private
University and Atelier Avant Austria, for
Sonic Environment Daegu, a piece for
ensemble and electronics. Jury motivation:
"For its strong balance of creative control
and multiple devices in a multimedia
performance. The Student Award went to
Anne Veinberg, Leiden University, for
CodeKlavier 'hello world', a piece+paper
contribution. Jury motivation: "For it
contributes to instrument performance
with a good-humoured mix of pianisms
and live coding." The Audience Award
was not given.
Jury Music Awards: Dr. Miriam
Akkermann, Mr. Patrick Gunawan
Hartono (Audience Award 2017) , Dr.
Choi Insook, Dr. Taehi KIm (ICMC
Music Chair) , Dr. PerMagnus Lindborg
(ICMA Music Coordinator / Chair
ICMC2018) , and Dr. Cort Lippe.
ICMAPaper Awards
The best Paper Award went to
Marta Gentilucci for the paper "Vocal
Distortion and Real-time Processing of
Roughness".
Jury Paper Award: Dr. Christopher
Haworth (Research Coordinator ICMA),
Dr. Arshia Cont, Dr. Stefania Serafin.
array ICMC 2018/Reviews
33


ICMC 2018 Awards

Concert No 12.&nbsp;Wednesday, June 19, 2019, 8-10pm,&nbsp;Sheen Center, Loreto TheaterReviewed by Kıvanç Tata

Tatar, Kıvanç

Review Concert 12

Osaka, Naotoshi

42
1. Introduction
It is a pleasure for me to announce that 
the Japanese Society for Sonic Arts has 
been newly founded and that a new 
electronic journal is being published. In 
the following text, I want to introduce 
the history of  the society and want 
to describe the administration policy. 
Recently, in the area of  engineering, a 
variety of  music-relevant research has 
been encouraged and developed both 
inside and outside of  Japan. Moreover, 
the number of  newcomers in this field 
has been increasing. The computer 
music field, which is a subfield of  art and 
engineering, is more precisely broken into 
sub-classifications such as algorithmic 
composition, sound synthesis, user 
interface, etc. The number of  relevant 
international conferences corresponding 
to such fields is increasing as well, such 
as NIME for new interfaces, MCM for 
mathematic representation of  music, and 
ISMIR for music retrieval.
This field is also positioned as multimedia 
art, and the border between fine art 
and this area has become unclear by 
forming a link to visual art such as sound 
art, which has developed from a stream 
different from traditional music, and 
establishing not only stage performances 
but sound installations, one type of  
advanced art installation.
Founding a New Field for 
the Study of  Sonic Arts: The 
Inauguration of  the Japanese 
Society for Sonic Arts
by Naotoshi Osaka
President, Japanese Society for 
Sonic Arts
Abstract
No organizations concerning the creation 
of  music and related topics are known to 
exist in Japan, and there has been a need 
for such an organization. This article 
first introduces the history behind the 
founding of  such an organization, and 
then states the organization’s mission: 
to issue original papers. It is a natural 
mission, though it can be difficult for 
creators of  music. Some strategies to 
support the organization in achieving 
its mission are also introduced. We also 
discuss a new framework for free-of-
charge musical performances, which 
are linked to research presentations. 
Moreover, a strategy for internationalizing 
the organization is introduced; such a 
strategy will allow the organization’s 
members to incorporate well-balanced 
information from all over the world into 
their compositions and research.
Naotoshi Osaka 2010/2011
42
43
editorial board member of  the journal 
of  the Information Processing Society of  
Japan, and he encouraged me to write an 
article in the journal to introduce a new 
society for both music-creation-related 
research and composers. However, I did 
not have the confidence to raise a formal 
society from the beginning. As a result, I 
organized a rather private society named 
ON-Juku centering on my university 
laboratory. In the name, ON means 
sound in general, and Juku is a type of  
private institute. After the second meeting 
it continued to the 6th meeting. These 
activities have been introduced in an 
article [Osaka 08].
In the end, I started to think that the 
society should be formalized. Since 
November 2006, a concert series “Media 
Project” has been conducted. Many 
members of  ON-Juku have joined the 
concerts. I have thought that the concert 
and the research activities should be 
linked together since then.
A free group which holds research 
meetings leads a very weak existence 
in the eyes of  the general public, and 
the author recognised that the general 
public would not view it as reliable or 
trustworthy. In order to apply for music 
or research grants under the name of  
the society, it is desirable that the society 
should be a reliable one. This thought 
lead me to found the new society, which 
Against such a background, 
corresponding new national or regional 
music-relevant societies have been 
founded and the chances to present 
music-related study are increasing.
On the other hand, although music-
related societies have become more active, 
I have felt an insufficiency at the domestic 
meetings of  such societies which does not 
happen at international conferences.
The most serious reasons are:
1) Composers are not present at such 
meetings.
2) There is little research whose 
application is electro-acoustic music 
creation.
These two become cause and effect for 
each other and form a negative spiral. 
The fundamental reason is that very few 
composers do research. I participated 
in ICMC 2007, and there met young 
Japanese researchers and musicians. 
There I had a thought that although 
members of  the same taste can meet, 
there are no appropriate venues in Japan.
After two months, Prof. Kia Ng from 
the University of  Leeds, UK, visited my 
laboratory. I organized an open lecture 
meeting in order to change the situation, 
and this became a good start for founding 
a new society. The event was known to 
Prof. Yoshinao Shiraki, who served as an 
The Japanese Society for Sonic Artsarray
44
However, the social aspect of  the creation 
of  music will decrease, and the musical 
community as a whole will be isolated 
from society in general. This idea comes 
from my background in engineering. In 
the engineering field, technologies are 
always expected to be open if  they are to 
be seen as basic study.
2.1 Mission of  our society
Then, what the mission of  our society is 
and how the society should be managed 
will be discussed in this session.
In consideration of  these above, firstly, the 
mission of  the society, as the title suggests, 
is research centering on advanced art 
music. How the target music should be 
called has long been a topic of  discussion 
among board members; computer 
music, electro-acoustic music, etc. After 
spending more than a month discussing 
it, the Japanese name is advanced music 
creation, if  directly translated into 
English, and sonic arts in English, which 
do not perfectly correspond to each other.
It is self-evident so far, but research in 
the field is not only one of  specific fields 
such as musicology, aesthetics, music 
perception, cognitive science, information 
science, and acoustic engineering, 
but widely includes all of  these fields. 
Moreover, in addition to these, some new 
research views should be added. Here we 
call the field Sosakugaku, which in Japanese 
has a strong mission, and has a link with 
ON-Juku and concerts under the new 
name. In the next section, I would like to 
state the direction of  the activities in the 
first phase.
2.Management policy of  the society
Why do few composers do research in 
Japan? Many composers might think that 
composition is a private activity and far 
from a research activities. However, this 
does not explain the fact that far fewer 
composers do research compared with 
the situation in Europe and the US. We 
are not sure whether this is because we 
imported music from Europe selectively 
in the Meiji era or because our education 
system is different from that in Europe. 
Some other reasons might also exist. 
Although a careful analysis has been done 
in Ref. [Osaka 08], decisive reasons were 
not drawn out.
I believe that there are objective aspects 
and subjective aspects in the creation of  
music, and the objective aspect should 
be open to the public. Creation is not 
an indispensable item of  high priority 
which allows us to survive, such as food, 
energy, and the environment. It does, 
however, serve a function to enrich our 
mental lives and play a role in the birth of  
culture. Therefore even if  the explanation 
of  activities is not enough, no one cares 
and the community will survive as long 
as those who are involved in it exist. 
Naotoshi Osaka 2010/2011
45
2.2 Strategies for pursuing our 
mission
Specific strategies are listed below to 
execute the ideas stated in the previous 
section.
1. periodic publication of  original 
papers
2. organization of  periodic research 
meetings
3. acquisition of  both formal and 
real recognition in public as an 
academic society
4. clear formation of  a social 
organization
5. execution of  concerts 
6. proposal of  our own events in a 
style to be defined by our society
7. invitation of  non-Japanese 
speaking members
8. invitation of  members abroad
9. forming a consortium with other 
organizations
I will explain these in detail in the next 
section.
3. Publication of  original papers and 
a consortium
Item 1 is the embodiment of  the mission 
itself, and the basic function of  an 
academic society. Although the discussion 
starts from this exact point in our society, 
there are few composers who do research 
in Japan. Young composers are not well 
trained to write papers at school, either. 
means the study of  the creation of  music.
Moreover, one of  the topics which is 
not often discussed is music theory. The 
other topics might be dealt with in other 
societies. However, it is discussed from 
the point of  view of  other societies, 
rather than from the perspective of  
creating music, since composers and 
musicians are largely not present. In my 
own case, there are some societies where 
I can present my own research output. 
However, its application to composition is 
not discussed. I believe these two aspects, 
engineering research and its application 
to composition, are necessary for research 
presentations.
In the sense stated above, this society 
will be a primary place for fundamental 
music theory research. I also expect that 
the society will serve as a meeting place 
for the scientific field of  the application 
of  research to the creation of  music, and 
by being informed by such a mission, 
those who are involved in music creation 
will gather. Communication will be 
promoted, and through the sharing of  
common information, a community will 
be formed. Moreover, the new field of  
Sosakugaku is not a mere collection of  
already-established relevant fields of  
study. However, whether or not a coherent 
synthesis is achieved by incorporating 
these fields is a key standard for its 
recognition as a new academic field.
The Japanese Society for Sonic Artsarray
46
The frequency of  research meetings in 
item 2 is a very important problem. If  
there is only an annual meeting, there are 
few chances for direct communication and 
the society becomes rigid. It is adequate 
to run a stable organization, but it is not 
enough for it to adjust itself  to the era. 
Therefore efforts will be made to have a 
meeting once every two or three months.
3.2 A society recognized by the 
public
In item 3, we hope the academic society 
here becomes recognized by the Science 
Council of  Japan, which gives us formal 
status as an academic society in Japan. 
There are some conditions which 
must be satisfied. The hardest barrier 
is the number of  members. One of  
the conditions says the number of  the 
members should exceed 100.
We have to consider strategies to increase 
the number of  members. Until now this 
has not been the purpose of  the society, 
but rather opinion leaders in particular 
fields have been invited. From now on an 
effort to increase the number of  members 
should be made as well.
3.3 Incorporation of  the society
Item 4 is not a necessary condition for 
item 3. However, a free organization is 
a weak one in the public eye and some 
incorporation will be aimed at this.
However, in composition there is a 
process of  observing subjects of  interest 
objectively, and, I believe, composers can 
become researchers at any time.
On the other hand, because of  the fact 
that many composers do not have the 
skills necessary for writing papers and 
there are hardly any chances to do so, 
there are opinions saying that forcing 
members to write papers in the first place 
will make them leave the society.
As long as it is an academic society, it is 
necessary to publish papers even if  the 
frequency is low, and we need to have a 
strategy for it. We should make a clear 
plan: a numerical goal of  the number of  
papers per year, and we have to proceed. 
At present, we have decided to issue an 
electronic journal correspondent to each 
research meeting.
In this first journal, although original 
papers are not present, we aim at the 
publication of  a couple of  original papers 
in the next two years. This is a first goal 
and in the meantime, our goal is that the 
publication frequency will increase so that 
it will become annual, with the eventual 
goal of  publishing a seasonal journal. 
In order to satisfy these conditions, we 
have listed up the following items.
3.1 Frequency of  Research meetings
Naotoshi Osaka 2010/2011
47
regions stated previously. Doing otherwise 
would reinforce the insufficiency.
Item 6 is an abstract statement. New 
business models for concerts should be 
considered and proposed from our society. 
Generally a concert organizer tries to sell 
as many tickets as possible to provide good 
music and concerts. In a submission form 
for music grants, ticket fee income is one 
of  the important items in the budget. 
On the other hand, in a research output 
presentation, admission fee varies from 
that of  a ordinary concert to more than 
10 thousand yen for a symposium or an 
international conference. However, there 
are several events with free admission as 
well. In general, researchers supported 
by competitive research funds, such 
as Kakenhi, should organize research 
presentations with free admission. This 
is as a matter of  course, since the fee 
necessary can be submitted and included 
in the budget. In such a situation, the 
performance of  music pieces organized by 
a research organization should be set up 
as an event with free admission.
New business models were born for 
free software, starting from GNU, and 
Google’s free search service, and we 
all receive benefits from them. While 
the benefits of  such a business model 
eventually level off, everyone accepts it as 
having been successful.
As seen above, items 1 through 4 are 
the necessary conditions for ordinary 
academic societies. However, our society 
is not a group of  only researchers but 
also of  composers. Such a society has 
not existed so far, and it is not possible 
to acquire all the functions which other 
societies have as a matter of  course. We 
want to fulfill the requirements one by 
one, confirming their necessity for our 
society.
4. How research meetings should be 
conducted
Item 5 is a viewpoint born only by groups 
of  composers. In our surroundings, 
there are so many occasions to perform 
composer’s pieces. This society does 
not place providing occasions for the 
presentation of  music piece as its first 
priority, but they will be presented either 
subordinately or parallel to research. By 
continuing such activities, new viewpoints 
might be established such that Sosakugaku 
is meaningful when it is presented 
together with concerts.
In reality, ICMC (International Computer 
Music Conference) functions similarly to 
that stated above. However, in founding 
the society, we set up music events as 
a subordinate activity since we cannot 
prepare both research and music at the 
same time, and the research aspect is 
weaker in Japan compared with other 
The Japanese Society for Sonic Artsarray
48
Art music is the main concern in the 
society. It is natural that we are strongly 
conscious of  the trends of  European 
music against the historical background. 
However, as music originally from Europe 
widely spread, many other factors are 
also incorporated, such as Japan’s original 
viewpoints, American music culture, 
Asian/Oceanic culture, etc. Even though 
each member has been affected by a 
particular region, we want to make an 
effort not to be biased toward the culture 
of  one particular region. Although the 
number of  members is quite few, happily 
it seems we satisfy the conditions stated in 
items 7 and 8.
6. Conclusion
In founding a new society—the Japanese 
Society of  Sonic Arts—the history of  the 
foundation, mission, and administration 
policies have been introduced. Critical 
mass is necessary for the activities of  
an academic society. Based on the ideas 
introduced here, let us examine the 
contents of  Sosakugaku and modify it, 
develop our society, and enlighten the 
public about the ideas established here. 
References
[Osaka 08] Naotoshi Osaka, “Planning 
for a Research Consortium, ‘ON-Juku’, 
on Advanced Art Music Creation.” 
Journal of  Information Processing Society of  
If  we make music performance events 
simultaneously research presentations, the 
possibility of  people attending the event 
because of  free admission is enlarged. 
Larger audiences can be expected from 
these policies.
5. International Strategy
This society should be one with an 
international viewpoint. Here I mean 
not biased to one particular region 
by “international”. Items 7 and 8 are 
established on this point. This society 
is based in Japan. However, in order to 
compensate for the lack of  information 
domestically, we want advice and 
comments from members with foreign 
nationality, or the Japanese outside of  
Japan.
In item 9, it is stated that we want to 
have good communication with existing 
societies. A loose link such as a form of  
consortium is one of  the solutions to 
this problem. Especially cross links with 
organizations abroad should be taken up 
with the highest priority. At present, Prof. 
Mara Helmuth, the [former] president 
of  the ICMA (International Computer 
Music Association) and Prof. Mark Battier, 
the president of  EMSAN (Electroacoustic 
Music Studies Asia Network) are members 
abroad, and we want to see if  some 
collaborations can be made.
Naotoshi Osaka 2010/2011
49
University. He is a member of  ASJ, 
IEICE, IPSJ, ICMA and IEEE. He 
has served as an ICMA Asia/Oceania 
Regional Director. He founded the 
Japanese Society for Sonic Arts in 2009.
Japan (IPSJ), Vol. 49 No.4, pp. 445-449, 
2008. (in Japanese)
Naotoshi Osaka is a composer and 
an acoustics researcher. He received 
Bachelor’s and M.S. degrees in electrical 
engineering from Waseda University in 
1976 and 1978, respectively. He worked at 
the Electric Communication Laboratories, 
NTT, Tokyo, Japan, during 1978-2003. 
He also received a Doctor of  Engineering 
in 1994. He has been engaged in research 
of  telephone transmission quality, speech 
conversation, and computer music. His 
main research interest is timbre synthesis 
for both sound and speech. Since 1990 
he has focused mainly on composing 
computer music and related sound 
synthesis technologies. He participated in 
ICMC ‘93 at Waseda University in Tokyo. 
Succeeding works include Prosody++ for 
chamber instruments with live electronics, 
at Japan Today (MUSIANA ‘95) and 
Louisiana Museum, Denmark, (’95), 
Sound Textile for piano and computer (’98), 
Shizuku no kuzushi for violin, computer 
and orchestra (’99), and Nubatama for 
shakuhachi and computer (’01). Besides 
composition, he has also organized 
computer music concerts, such as the 
NTT Computer Music Symposium I 
(’97) and II (’01). From 1996 to March 
2003, he led a computer music research 
group at NTT Communication Science 
Laboratories in Atsugi, Kanagawa. He 
is presently a professor at Tokyo Denki 
The Japanese Society for Sonic Artsarray


Founding a New Field for the Study of Sonic Arts: The Inauguration of the Japanese Society for Sonic Arts

Interview: Michael Clarke, Miha Ciglar, Cat Hope