Towards Musical Interaction: Sam Hayden's Compositions for E-Violin and Computer.
This paper documents the evolution of the project on musical interactivity between electric violin and live computer processing (using Max/MSP), carried out by composer Sam Hayden in collaboration with violinist Mieko Kanno. Hayden's ‘schismatics’ composed in 2007, involved a standard performance pa...
| Publicado en: | Contemporary Music Review Vol. 32; no. 5; pp. 485 - 499 |
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| Autores principales: | , |
| Formato: | Artículo |
| Publicado: |
Taylor & Francis Ltd
Oct2013
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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=91949169&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 91949169 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: Oct2013 vid: 32 iid: 5 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 91949169 10.1080/07494467.2013.849876 ppf: 485 ppct: 14 formats: fmt: – @attributes: type: T – @attributes: type: P size: 586KB tig: atl: Towards Musical Interaction: Sam Hayden's Compositions for E-Violin and Computer. aug: au: Hayden, Sam Kanno, Mieko su: Hayden, Sam, 1968- Composers Musical composition Avant-garde music Electric violin Musical performance sug: subj: Hayden, Sam, 1968- Composers Musical composition Avant-garde music Electric violin Musical performance keyword: Composition Electric Violin Experimental Music Interactivity Machine Listening and Learning Max/MSP ab: This paper documents the evolution of the project on musical interactivity between electric violin and live computer processing (using Max/MSP), carried out by composer Sam Hayden in collaboration with violinist Mieko Kanno. Hayden's ‘schismatics’ composed in 2007, involved a standard performance paradigm of a fixed notated part for the e-violin with sonically unfixed live computer processing. This first version was more reactive than interactive, having little internal relationship between the two ‘performers’ beyond an initial e-violin ‘action’ causing a computer ‘event’. Extensive revisions in 2010 aimed at achieving (1) a more interactive performance situation and (2) a subtler and more ‘musical’ relationship between live and processed sounds. This was realized through the introduction of sound analysis objects, in particular machine listening and learning techniques developed by Nick Collins, leading to a new work, ‘Adaptations’ (2011) which has taken the concept of performance with interactive computer to a new level. 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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