active imaginative one during which we synthesize multidimensional, endogenous environments in which memory tracings form and are inscribed, making personal times with histories, nows and futures. Plentiful invitations for rich explorations await the reader of this LMJ issue. And, profoundly so, this one challenges us to listen hard—listen to sounds, yes, and also listen to challenging ideas and points of view. As we confront the multilayered forces of change in our current environments, open imaginative reading and listening become important sources of hope and guidance for actions directed at positive evolution. We can imagine ourselves taking on the listening roles of Amazon creatures in Luca Forcucci’s field recordings. Notably, Forcucci’s process includes allowing time for nature to absorb human presence in its midst before recording and invokes deep listening as a fundamental skill. In addition to hearing these captured soundscapes, imagine if we could develop the listening skills of the animals making those sounds while they adapt to the changing forces in their environments. Might this help us understand our own environments better and address the sound pollution surrounding us that dampens our hearing? From this perspective, Forcucci also heightens our awareness of how presentation spaces interact with music creation. The universe of gesture, wherein the origins of language might lie, and where music and dance are undifferentiated and inseparable, is brought to light in Daniel Portelli’s investigations of gestural line and shape in multimodal compositional practice. Portelli explores the transformation of these shapes and how to record and present them as means for generating meaning in multimodal scores. Marco Buongiorno Nardelli’s work on generalized networks is one from which the imagination can spring. This article provides an excellent tutorial on network theory, using commonly understood musical materials. The topic of networks and networking is one of enormous breadth and importance today. It is easy to imagine how a huge range of differentiated entities in perception and conception can be placed at the nodes of such networks in generalized spaces. The tools that may emerge from this realm of music theory can be generalized and applied to endlessly expanding arrays of artistic interactions and human understandings. Though the connections may not be overtly explicit, I am intrigued to speculate on subjects emerging in three papers that involve the dichotomous meanings of subjective and objective, endogenous and exogenous, conceptual and perceptual, sensory and cognitive, continuous and discrete, and in-time versus outside-time. Nora Engebretsen’s paper brings a new approach to timbre in musical analysis that acknowledges both its perceptual and acoustical bases as fundamental. Engebretsen doesn’t directly address the idea of semantics in music but does discuss the conveyance of musical meaning through timbre. This work brings new insights to ways of thinking about timbre and how we internalize its values, beyond scalable acoustic parameters. The notion of perceptual scaling is also forefront in Evelyn Ficarra’s work on time scaling. Through the use of time-lapse techniques—common in visual media, less common in composition, somewhat more known in sound art—they investigate large-scale manipulations of temporal material and how they may be perceived and experienced. A third article by Mark Reybrouck suggests putting all this under a lens of musical experience in a process of ongoing knowledge construction. Several articles concentrate on offering useful new tools. One is a low-cost beat-making, loop-sequencing instrument built with an easy-to-use form factor developed by Andrew R. Brown and John R. Ferguson. (I had the pleasure of trying out this device recently.) Michael Rhoades’s work on holography and holophony brings new techniques to the rapidly evolving field of multidimensional sound diffusion, resonant holophons in multimedia spaces. Rita Torres offers new approaches to composing with resonant guitar multiphonics. Claudio Panariello’s adaptive sound arrays that can react to environmental perturbations, Michael McKnight’s highly developed Extended Reality (XR) techniques for telling stories to multiple listeners and Taylor Brook’s software for cocomposing all add to our collective toolkit, enhancing the agency of now all-important developments in collaborative music and multi-arts realizations. Finally, Neal Spowage’s engaging, sound-making totems remind us about the importance of what I will refer to as organic corporeality in electronic music performance. Spowage also emphasizes the importance of ritual. More soundscape investigations can be found in this LMJ’s special section. Here, they are arranged so as to stimulate reimagining the role of sound as evidence in moral acts that expose the status quo in our environments. Morten introduction

中文翻译：

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积极的想象阅读……和听力

积极的想象力，在此期间，我们综合了多维、内生的环境，在这些环境中形成并铭刻了记忆轨迹，用历史、现在和未来创造个人时代。丰富的探索邀请等待本 LMJ 问题的读者。而且，深刻的是，这个挑战我们认真倾听——倾听声音，是的，还要倾听具有挑战性的想法和观点。当我们面对当前环境中的多层次变化力量时，开放的想象阅读和聆听成为积极发展行动的希望和指导的重要来源。我们可以想象自己在 Luca Forcucci 的现场录音中扮演亚马逊生物的聆听角色。尤其，Forcucci 的过程包括在录音之前让大自然有时间吸收人类的存在，并将深度聆听作为一项基本技能。除了听到这些捕捉到的音景之外，想象一下我们是否可以培养发出这些声音的动物的听力技能，同时它们适应环境中不断变化的力量。这是否可以帮助我们更好地了解我们自己的环境并解决我们周围阻碍我们听力的声音污染？从这个角度来看，Forcucci 还提高了我们对展示空间如何与音乐创作互动的认识。在丹尼尔·波特利 (Daniel Portelli) 对多模态作曲实践中的手势线条和形状的研究中，揭示了手势的世界，其中可能是语言的起源，音乐和舞蹈是无差别和不可分割的。Portelli 探索了这些形状的转换以及如何记录和呈现它们作为在多模态分数中产生意义的手段。Marco Buongiorno Nardelli 关于广义网络的工作是一种可以激发想象力的工作。本文提供了一个关于网络理论的优秀教程，使用了普遍理解的音乐材料。网络和网络的主题是当今具有巨大广度和重要性的主题之一。很容易想象，如何在广义空间中将大量不同的感知和概念实体放置在此类网络的节点上。从这个音乐理论领域可能出现的工具可以被推广并应用于不断扩展的艺术互动和人类理解的阵列。虽然联系可能不是很明显，我很想推测三篇论文中出现的主题，这些主题涉及主观和客观、内生和外生、概念和知觉、感官和认知、连续和离散以及时间与外部时间的二分含义。Nora Engebretsen 的论文为音乐分析中的音色提供了一种新方法，该方法承认其感知和声学基础都是基础。Engebretsen 并没有直接讨论音乐中的语义概念，而是讨论了通过音色传达音乐意义的问题。这项工作为思考音色的方式以及我们如何内化其价值带来了新的见解，超越了可扩展的声学参数。在 Evelyn Ficarra 关于时间缩放的工作中，感知缩放的概念也是最前沿的。通过使用延时技术——在视觉媒体中很常见，在作曲中不太常见，在声音艺术中更为人所知——他们研究对时间材料的大规模操纵以及它们如何被感知和体验。马克·雷布鲁克 (Mark Reybrouck) 的第三篇文章建议将所有这些置于持续知识构建过程中的音乐体验之下。有几篇文章专注于提供有用的新工具。一种是低成本的节拍、循环排序乐器，它采用由 Andrew R. Brown 和 John R. Ferguson 开发的易于使用的外形尺寸构建。（我最近有幸试用了这个设备。）迈克尔·罗德斯在全息和全息方面的工作为快速发展的多维声音扩散领域带来了新技术，多媒体空间中的共振全息。丽塔·托雷斯 (Rita Torres) 提供了使用共鸣吉他复音进行创作的新方法。Claudio Panariello 的自适应声音阵列可以对环境扰动做出反应，Michael McKnight 高度发达的扩展现实 (XR) 技术用于向多个听众讲述故事，Taylor Brook 的共同编曲软件都添加到我们的集体工具包中，增强了现在最重要的发展在协作音乐和多艺术实现中。最后，Neal Spowage 引人入胜的发声图腾提醒我们，我将称之为电子音乐表演中的有机体的重要性。Spowage 还强调仪式的重要性。在此 LMJ 的特殊部分中可以找到更多音景调查。在这里，它们的排列是为了激发人们重新想象声音作为道德行为证据的作用，这些行为暴露了我们环境中的现状。莫腾介绍 Michael McKnight 高度发达的扩展现实 (XR) 技术（用于向多个听众讲述故事）和 Taylor Brook 的协同作曲软件都添加到我们的集体工具包中，增强了协作音乐和多艺术实现中现在最重要的发展的代理。最后，Neal Spowage 引人入胜的发声图腾提醒我们，我将称之为电子音乐表演中的有机体的重要性。Spowage 还强调仪式的重要性。在此 LMJ 的特殊部分中可以找到更多音景调查。在这里，它们的排列是为了激发人们重新想象声音作为道德行为证据的作用，这些行为暴露了我们环境中的现状。莫腾介绍 Michael McKnight 高度发达的扩展现实 (XR) 技术（用于向多个听众讲述故事）和 Taylor Brook 的协同作曲软件都添加到我们的集体工具包中，增强了协作音乐和多艺术实现中现在最重要的发展的代理。最后，Neal Spowage 引人入胜的发声图腾提醒我们，我将称之为电子音乐表演中的有机体的重要性。Spowage 还强调仪式的重要性。在此 LMJ 的特殊部分中可以找到更多音景调查。在这里，它们的排列是为了激发人们重新想象声音作为道德行为证据的作用，这些行为暴露了我们环境中的现状。莫腾介绍 加强协作音乐和多艺术实现方面现在最重要的发展的代理。最后，Neal Spowage 引人入胜的发声图腾提醒我们，我将称之为电子音乐表演中的有机体的重要性。Spowage 还强调仪式的重要性。在此 LMJ 的特殊部分中可以找到更多音景调查。在这里，它们的排列是为了激发人们重新想象声音作为道德行为证据的作用，这些行为暴露了我们环境中的现状。莫腾介绍 加强协作音乐和多艺术实现方面现在最重要的发展的代理。最后，Neal Spowage 引人入胜的发声图腾提醒我们，我将称之为电子音乐表演中的有机体的重要性。Spowage 还强调仪式的重要性。在此 LMJ 的特殊部分中可以找到更多音景调查。在这里，它们的排列是为了激发人们重新想象声音作为道德行为证据的作用，这些行为暴露了我们环境中的现状。莫腾介绍 在此 LMJ 的特殊部分中可以找到更多音景调查。在这里，它们的排列是为了激发人们重新想象声音作为道德行为证据的作用，这些行为暴露了我们环境中的现状。莫腾介绍 在此 LMJ 的特殊部分中可以找到更多音景调查。在这里，它们的排列是为了激发人们重新想象声音作为道德行为证据的作用，这些行为暴露了我们环境中的现状。莫腾介绍