Interacting with latter-day musical automata.
The idea of music that somehow plays itself, or emerges from a nonhuman intelligence, is a common, transculturally present theme in folklore, science, and art. Over the centuries, this notion has been expressed through the development of various technological means. This paper explores aspects of my...
| Publicado en: | Contemporary Music Review Vol. 18; no. 3; pp. 99 - 113 |
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| Autor principal: | |
| 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=24876180&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 24876180 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: 24876180 10.1080/07494469900640381 ppf: 99 ppct: 14 formats: fmt: – @attributes: type: T – @attributes: type: P size: 845KB tig: atl: Interacting with latter-day musical automata. aug: au: Lewis, George E. su: Musical performance Computer music Music & folklore Computer software Musicians Electronic music Theory of knowledge sug: subj: Musical performance Computer music Music & folklore Computer software Musicians Electronic music Theory of knowledge keyword: AACM African-American improvised music Art Ensemble of Chicago Epistemology Improvisation Interaction Ontology Performance with computer Sociology Timbre ab: The idea of music that somehow plays itself, or emerges from a nonhuman intelligence, is a common, transculturally present theme in folklore, science, and art. Over the centuries, this notion has been expressed through the development of various technological means. This paper explores aspects of my ongoing encounter with computers in improvised music, as exemplified by my most recent interactive computer music compositions. These works involve extensive interaction between improvising musicians and computer music-creating programs at the performance ("real-time") level. In both theory and practice, this means that both human musicians and computer programs play central organizing and structuring roles in any performance of these works. This paper seeks to explore aesthetic, philosophical, cultural and social implications of this work. In addition, the nature and practice of improvisation itself will be explored, since an understanding of this ubiquitous musical activity is essential to establishing the cultural and historical context of the work. 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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