The use of computer technology in an interactive or "Real time" performance environment.
Since my first work with electronics in music, I have felt strongly that music should come from one human to another and that the medium should always be at the service of the artist. The electronic medium has the possibility, where desirable, to bypass the performer who has traditionally acted as t...
| Publicado en: | Contemporary Music Review Vol. 18; no. 3; pp. 113 - 118 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
1999
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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=24876179&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 24876179 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: 1999 vid: 18 iid: 3 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 24876179 10.1080/07494469900640391 ppf: 113 ppct: 5 formats: fmt: – @attributes: type: T – @attributes: type: P size: 256KB tig: atl: The use of computer technology in an interactive or "Real time" performance environment. aug: au: Subotnick, Morton su: Electronics Musical performance Art & music Musicians Coniglio, Mark Digital media sug: subj: Electronics Musical performance Art & music Musicians Coniglio, Mark Digital media keyword: 2-Forefront mode The electronic medium Two basic modes for the use of computer in performance1-Background (transparent) mode. 2-Forefront mode. Two basic modes for the use of computer in performance 1-Background (transparent) mode Two basic modes for the use of computer in performance 1-Background (transparent) mode. 2-Forefront mode ab: Since my first work with electronics in music, I have felt strongly that music should come from one human to another and that the medium should always be at the service of the artist. The electronic medium has the possibility, where desirable, to bypass the performer who has traditionally acted as the intermediary between the composer and the audience. In order to accomplish these things I needed to develop a software which was always 'in service' to the composer/musician, To this end, I with Mark Coniglio, developed the software language, Interactor®. In addition to the software, I have developed a kind of philosophy regarding the use of electronics in music/art making. What follows is an outline of some of these conclusions regarding real time interaction with the computer in performance. There are at least three kinds of interactive environments: public performances, installations, and home media, however, in this article I will concentrate on the area of performance. Two basic modes for the use of computer in performance. 1-Background (transparent) mode. 2-Forefront mode. 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: 1999 holdings: @attributes: islocal: N |
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