Generative Music and Laptop Performance.
Live computer music is the perfect medium for generative music systems, for non-linear compositional constructions and for interactive manipulation of sound processing. Unfortunately, much of the complexity of there real-time systems is lost on a potential audience, excepting those few connoisseurs...
| Published in: | Contemporary Music Review Vol. 22; no. 4; pp. 67 - 80 |
|---|---|
| Main Author: | |
| Format: | Article |
| Published: |
Taylor & Francis Ltd
2003
|
| Subjects: | |
| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=12407268&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 12407268 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: 2003 vid: 22 iid: 4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 12407268 10.1080/0749446032000156919 ppf: 67 ppct: 13 formats: fmt: @attributes: type: P size: 1.4MB tig: atl: Generative Music and Laptop Performance. aug: au: Collins, Nick su: Computer music Computer sound processing Computer composition Laptop computers Electronic musical instruments sug: subj: Computer music Computer sound processing Computer composition Laptop computers Electronic musical instruments keyword: algorithmic composition generative music laptop music ab: Live computer music is the perfect medium for generative music systems, for non-linear compositional constructions and for interactive manipulation of sound processing. Unfortunately, much of the complexity of there real-time systems is lost on a potential audience, excepting those few connoisseurs who sneak round the back to cheek the laptop screen. An artist using powerful software like SuperCollider or PD cannot be readily distinguished from someone checking their e-mail whilst DJ-ing with iTunes. Without a culture of understanding of both the laptop performer and current generation graphical and text-programming languages for audio, audiences tend to respond most to often gimmicky controllers, or to the tools they have had more exposure to -- the (yawn) superstar DJs and their decks. This article attempts to convey the exciting things that are being explored with algorithmic composition and interactive synthesis techniques in Eve performance. The reasons for building generative music systems and the forms of control attainable over algorithmic processes are investigated. Direct manual control is set against the use of autonomous software agents. In line with this, four techniques for software control during live performance are introduced, namely presets, previewing, autopilot, and the powerful method of live coding. Finally, audio-visual collaboration is discussed. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Music Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Music Review holder: Taylor & Francis Ltd dt: @attributes: year: 2003 holdings: @attributes: islocal: N |
|---|