Interacting with Generative Music through Live Coding.
All music performances are generative to the extent that the actions of performers produce musical sounds, but in this article the authors focus on performative interaction with generative music in a more compositional sense. In particular they discuss how live coding of music involves the building...
| Publicado en: | Contemporary Music Review Vol. 28; no. 1; pp. 17 - 30 |
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| Autores principales: | , |
| Formato: | Artículo |
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Taylor & Francis Ltd
2009
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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=36636063&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 36636063 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: 2009 vid: 28 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 36636063 10.1080/07494460802663991 ppf: 17 ppct: 13 formats: fmt: – @attributes: type: T – @attributes: type: P size: 584KB tig: atl: Interacting with Generative Music through Live Coding. aug: au: Brown, AndrewR. Sorensen, Andrew su: Musical performance Musical composition Songwriting Computer software Musical notation sug: subj: Musical performance Musical composition Songwriting Computer software Musical notation keyword: Algorithm Interaction Live Coding Performance ab: All music performances are generative to the extent that the actions of performers produce musical sounds, but in this article the authors focus on performative interaction with generative music in a more compositional sense. In particular they discuss how live coding of music involves the building and management of generative processes. They suggest that the human interaction with generative processes that occurs in live coding provides a unique perspective on the generative music landscape. Especially significant is the way in which generative algorithms are represented in code to best afford interaction and modification during performance. They also discuss the features of generative processes that make them more or less suitable for live coding performances. They situate live coding practice within historical and theoretical contexts and ground the discussion with regular reference to their experiences performing in the live coding duo aa-cell. 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: 2009 holdings: @attributes: islocal: N |
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