A conceptual tool for improvisation.
The author's current research has involved the development of an interactive performance system named ‘Milieu’, for use with a solo improvising musician. The detail of the performance system architecture developed as part of the study will not be described here; however, the author would like to dis...
| Publicado en: | Contemporary Music Review Vol. 25; no. 1/2; pp. 163 - 173 |
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| Autor principal: | |
| Formato: | Artículo |
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Taylor & Francis Ltd
2006
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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=20855621&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 20855621 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: 2006 vid: 25 iid: 1/2 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 20855621 10.1080/07494460600647634 ppf: 163 ppct: 10 formats: fmt: – @attributes: type: T – @attributes: type: P size: 70KB tig: atl: A conceptual tool for improvisation. aug: au: Sayer, Tim su: Music improvisation Musical performance Musicians Human-computer interaction Cognitive science sug: subj: Music improvisation Musical performance Musicians Human-computer interaction Cognitive science keyword: Cognition Human–Computer Interaction Human–Computer Interaction Human-Computer Interaction Hypnosis Improvisation Volition ab: The author's current research has involved the development of an interactive performance system named ‘Milieu’, for use with a solo improvising musician. The detail of the performance system architecture developed as part of the study will not be described here; however, the author would like to discuss aspects of the design that one could perhaps regard as representing a paradigm shift in performance environments and provide an overview of how the system is used. Viewing musical improvisation in the light of psychology and cognitive science, this article will explicate the rationale behind the development of the software-based audiovisual interface, the design of which is based on Di Scipio's eco-systemic principles. The article explores the potential of an audio-visual performance architecture to provide a conceptual tool for a performing musician with which to challenge conventional modes of improvisational behaviour. 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: 2006 holdings: @attributes: islocal: N |
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