Discovering Creative Commons Sounds in Live Coding.
This article reports on a study to identify the new sonic challenges and opportunities for live coders, computer musicians and sonic artists using MIRLCa, a live-coding environment powered by an artificial intelligence (AI) system. MIRLCa works as a customisable worldwide sampler, with sounds retrie...
| Publicado en: | Organised Sound Vol. 28; no. 2; pp. 276 - 290 |
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| Formato: | Artículo |
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Cambridge University Press
Aug2023
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=173033643&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 173033643 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 13557718 G0N jtl: Organised Sound issn: 13557718 maglogo: N pubinfo: dt: Aug2023 vid: 28 iid: 2 pid: 15979 pub: Cambridge University Press artinfo: ui: 173033643 10.1017/S1355771823000262 ppf: 276 ppct: 14 formats: tig: atl: Discovering Creative Commons Sounds in Live Coding. aug: au: Xambó Sedó, Anna affil: ), De Montfort University, Leicester, UK su: Creative Commons (Organization) Computer programming Computer music Artificial intelligence Music improvisation sug: subj: Creative Commons (Organization) Computer programming Computer music Artificial intelligence Music improvisation ab: This article reports on a study to identify the new sonic challenges and opportunities for live coders, computer musicians and sonic artists using MIRLCa, a live-coding environment powered by an artificial intelligence (AI) system. MIRLCa works as a customisable worldwide sampler, with sounds retrieved from the collective online Creative Commons (CC) database Freesound. The live-coding environment was developed in SuperCollider by the author in conversation with the live-coding community through a series of workshops and by observing its use by 16 live coders, including the author, in work-in-progress sessions, impromptu performances and concerts. This article presents a qualitative analysis of the workshops, work-in-progress sessions and performances. The findings identify (1) the advantages and disadvantages, and (2) the different compositional strategies that result from manipulating a digital sampler of online CC sounds in live coding. A prominent advantage of using sound samples in live coding is its low-entry access suitable for music improvisation. The article concludes by highlighting future directions relevant to performance, composition, musicology and education. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2023 holdings: @attributes: islocal: N |
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