thematic issues for over 20 years. This is the second time in a row that this journal has been published without an overarching theme. I confess that I was not entirely convinced that nonthematic issues would be as exciting as the thematic ones had been. But I must admit: I am not at all disappointed. The previous one worked just fine. And the present one works really well too. Our former editor-in-chief, Nicolas Collins, had an eye for spotting themes that were exciting, innovative and relevant. Nevertheless, I often wondered whether or not thematic issues were preventing potential authors from engaging with the journal more widely. Of course, both approaches have their advantage and disadvantages. The variety of high-quality papers that were submitted for this issue is impressive. The volume covers a wide range of topics, some of which I was not even aware were being developed in such depth, from writings about musique concrete in Korean, to spiritualism and activism, to virtual reality musical instruments, genetic music and 3D music notation, to cite but six. It was a real treat to have had the opportunity to read these papers ahead of their publication. I am delighted to have been invited to introduce this issue, which opens with Kat Austen’s article addressing what is perhaps one of the most significant global issues of our time: climate change. Austen created compelling music using data collected at the Arctic, and I was excited to learn how she engaged with the data and repurposed the scientific equipment for measuring them. Also politically motivated is Aviva Rahmani’s Blued Trees work. It combines concepts from music, acoustics, art and environmental policy. Hundreds of GPS-located trees in the path of proposed natural gas pipelines across the North American continent were painted with a sinewave symbol. Data from the GPS locations and interpretations of geographic features informed the composition. Virtual Reality (VR) technology has been around for a while, and a number of musicians and artists have experimented with it. The article by Anıl Çamcı and John Granzow brings something innovative: they combine VR and digital fabrication technology to design new musical instruments. And Kıvanç Tatar, Mirjana Prpa and Philippe Pasquier introduce a piece based on a VR environment of their own design, where a performer interacts with an artificial agent though breathing. They employed multiagents combined with emotion recognition systems to control the parameters of the piece. A note by David Kim-Boyle introduces an approach to notating music in three dimensions. He is interested in real-time notation of generative music and also dynamic visualizations of music. The author illustrates his ideas by means of examples and discusses the potential of his 3D notation methods for implementing immersive mixedreality music notation systems. The article by Yuan-Yi Fan explores sound spatialization techniques to harness listeners’ experience in a given space. The author presents a framework to think about the interplay between moving listeners and moving sounds. The framework, consisting of object-based audio, indoor positioning system and algorithmic spatialization strategies, is demonstrated by means of a case study installation. Although not strictly connected to VR research per se, Fan’s framework is bound to inspire the development of sophisticated systems for auditory immersion in VR environments. The multimedia piece Landscape: Home by Chaz Underriner uses an electric guitar, video projections and a surround-sound system. Underriner’s article articulates the representation of reality in art, which makes it possible to render the unreal familiar and the real unfamiliar. The author uncovers techniques for representing surreal realities in literature and compares them with well-established practices in electroacoustic music. Audio feedback can generate fascinating sounds. It is often thought that filtering is caused only by the acoustic properties of a room. Lilac Atassi’s note reminds us that the equipment (e.g. the speaker and microphone) also filters the sounds. She introduces her endeavors to reduce the effect of audio equipment’s frequency-response on the sound. Virtual reality and mixed reality are blurring the distinction between the real and surreal. Playing music with introduction

中文翻译：

---

介绍

20 多年来的主题问题。这是该期刊连续第二次在没有总体主题的情况下出版。我承认我并不完全相信非主题问题会像主题问题一样令人兴奋。但我必须承认：我一点也不失望。前一个工作得很好。现在的也很好用。我们的前主编尼古拉斯·柯林斯 (Nicolas Collins) 善于发现令人兴奋、创新和相关的主题。尽管如此，我还是经常想知道主题问题是否阻碍了潜在作者更广泛地参与该期刊。当然，这两种方法都有其优点和缺点。本期提交的各种高质量论文令人印象深刻。该卷涵盖了广泛的主题，其中一些我什至没有意识到正在如此深入地发展，从韩国关于具体音乐的著作到唯心主义和激进主义，再到虚拟现实乐器、基因音乐和 3D 乐谱，仅举六例。有机会在这些论文发表之前阅读它们，真是一种享受。我很高兴受邀介绍这个问题，本文以 Kat Austen 的文章开头，该文章讨论的可能是我们这个时代最重要的全球问题之一：气候变化。奥斯汀使用在北极收集的数据创作了引人入胜的音乐，我很高兴得知她如何处理数据并重新利用科学设备来测量它们。同样出于政治动机的还有 Aviva Rahmani 的 Blued Trees 作品。它结合了音乐、声学、艺术和环境政策的概念。横跨北美大陆的拟议天然气管道路径上的数百棵 GPS 定位的树木被涂上了正弦波符号。来自 GPS 位置和地理特征解释的数据为构成提供了信息。虚拟现实 (VR) 技术已经存在一段时间了，许多音乐家和艺术家已经对其进行了试验。Anıl Çamcı 和 John Granzow 的文章带来了一些创新：他们结合 VR 和数字制造技术来设计新的乐器。Kıvanç Tatar、Mirjana Prpa 和 Philippe Pasquier 介绍了基于他们自己设计的 VR 环境的作品，表演者通过呼吸与人工代理互动。他们采用多智能体结合情感识别系统来控制作品的参数。David Kim-Boyle 的笔记介绍了一种在三个维度上标记音乐的方法。他对生成音乐的实时符号以及音乐的动态可视化感兴趣。作者通过示例说明了他的想法，并讨论了他的 3D 符号方法在实现沉浸式混合现实音乐符号系统方面的潜力。Yuan-Yi Fan 的文章探讨了声音空间化技术，以利用特定空间中的听众体验。作者提出了一个框架来思考移动的听众和移动的声音之间的相互作用。该框架由基于对象的音频、室内定位系统和算法空间化策略组成，通过案例研究装置进行演示。虽然与 VR 研究本身并不严格相关，Fan 的框架必将激发 VR 环境中听觉沉浸的复杂系统的开发。Chaz Underriner 的多媒体作品 Landscape: Home 使用电吉他、视频投影和环绕声系统。Underriner 的文章阐明了艺术中对现实的表现，这使得让虚幻的熟悉和真实的陌生成为可能。作者揭示了在文学中表现超现实现实的技巧，并将它们与电声音乐中的成熟实践进行了比较。音频反馈可以产生迷人的声音。人们通常认为滤波仅由房间的声学特性引起。Lilac Atassi 的笔记提醒我们设备（例如扬声器和麦克风）也会过滤声音。她介绍了她为减少音频设备的频率响应对声音的影响所做的努力。虚拟现实和混合现实正在模糊现实与超现实之间的区别。播放音乐和介绍