Real-Time Computer-Aided Composition with bach.
Environments for computer-aided composition (CAC), allowing generation and transformation of symbolic musical data, are usually counterposed to real-time environments or sequencers. The counterposition is deeply methodological: in traditional CAC environments interface changes have no effect until a...
| Publicado en: | Contemporary Music Review Vol. 32; no. 1; pp. 41 - 49 |
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| Autores principales: | , |
| Formato: | Artículo |
| Publicado: |
Taylor & Francis Ltd
Feb2013
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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=87044472&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 87044472 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: Feb2013 vid: 32 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 87044472 10.1080/07494467.2013.774221 ppf: 41 ppct: 8 formats: fmt: – @attributes: type: T – @attributes: type: P size: 5MB tig: atl: Real-Time Computer-Aided Composition with bach. aug: au: Agostini, Andrea Ghisi, Daniele su: Computer-aided engineering Musical analysis Computer programming Performance theory Graphical user interfaces Research methodology sug: subj: Computer-aided engineering Musical analysis Computer programming Performance theory Graphical user interfaces Research methodology keyword: bach CAC Computer-Assisted Composition Max Real-Time ab: Environments for computer-aided composition (CAC), allowing generation and transformation of symbolic musical data, are usually counterposed to real-time environments or sequencers. The counterposition is deeply methodological: in traditional CAC environments interface changes have no effect until a certain ‘refresh’ operation is performed whereas real-time environments immediately react to user input. We shall show in this article that this distinction is by no means natural and that interactivity is an essential performative aspect of the musical discovery process. The reunification of the performative and speculative aspects is obtained via a Max library namedbach: automatic composer’s helper, which is a set of tools for symbolic processing and graphical music representation, designed to take advantage of Max's facilities for sound processing, real-time interaction and graphical programming. 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: 2013 holdings: @attributes: islocal: N |
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