Advanced Media Control Through Drawing: Using a graphics tablet to control complex audio and video data in a live context

This paper demonstrates the results of the authors’ Wacom tablet MIDI user interface. This application enables users’ drawing actions on a graphics tablet to control audio and video parameters in real-time. The programming affords five degrees (x, y, pressure, x tilt, y tilt) of concurrent control for use in any audio or video software capable of receiving and processing MIDI data. Drawing gesture can therefore form the basis of dynamic control simultaneously in the auditory and visual realms. This creates a play of connections between parameters in both mediums, and illustrates a direct correspondence between drawing action and media transformation that is immediately apparent to viewers. The paper considers the connection between drawing technique and media control both generally and specifically, postulating that dynamic drawing in a live context creates a performance mode not dissimilar to performing on a musical instrument or conducting with a baton. The use of a dynamic and physical real-time media interface re-inserts body actions into live media performance in a compelling manner. Performers can learn to “draw/play” the graphics tablet as a musical and visual “instrument”, creating a new and uniquely idiomatic form of electronic drawing. The paper also discusses how to practically program the application and presents examples of its use as a media manipulation tool

Performance recordivity : studio music in a live context

A broad range of positions is articulated in the academic literature around the relationship between recordings and live performance. Auslander (2008) argues that “live performance ceased long ago to be the primary experience of popular music, with the result that most live performances of popular music now seek to replicate the music on the recording”. Elliott (1995) suggests that “hit songs are often conceived and produced as unambiguous and meticulously recorded performances that their originators often duplicate exactly in live performances”. Wurtzler (1992) argues that “as socially and historically produced, the categories of the live and the recorded are defined in a mutually exclusive relationship, in that the notion of the live is premised on the absence of recording and the defining fact of the recorded is the absence of the live”. Yet many artists perform in ways that fundamentally challenge such positions. Whilst it is common practice for musicians across many musical genres to compose and construct their musical works in the studio such that the recording is, in Auslander’s words, the ‘original performance’, the live version is not simply an attempt to replicate the recorded version. Indeed in some cases, such replication is impossible. There are well known historical examples. Queen, for example, never performed the a cappella sections of Bohemian Rhapsody because it they were too complex to perform live. A 1966 recording of the Beach Boys studio creation Good Vibrations shows them struggling through the song prior to its release. This paper argues that as technology develops, the lines between the recording studio and live performance change and become more blurred. New models for performance emerge. In a 2010 live performance given by Grammy Award winning artist Imogen Heap in New York, the artist undertakes a live, improvised construction of a piece as a performative act. She invites the audience to choose the key for the track and proceeds to layer up the various parts in front of the audience as a live performance act. Her recording process is thus revealed on stage in real time and she performs a process that what would have once been confined to the recording studio. So how do artists bring studio production processes into the live context? What aspects of studio production are now performable and what consistent models can be identified amongst the various approaches now seen? This paper will present an overview of approaches to performative realisations of studio produced tracks and will illuminate some emerging relationships between recorded music and performance across a range of contexts

Theatre Noise Conference

Three days of Performances, Installations, Residencies, Round Table Discussions, Presentations and Workshops More than an academic conference, Theatre Noise is a diverse collection of events exploring the sound of theatre from performance to the spaces inbetween. Featuring keynote presentations, artists in residence, electroacoustic, percussive and digital performances, industry workshops and installations, Theatre Noise is an immersive journey into sound

Комп’ютерна 3D гра з саунд-продюсуванням

Дана дипломна робота присвячена створенню комп’ютерної 3D гри, а саме головоломки, на базі рушія Unity та реалізації музикального проєкту на платформі Ableton Live, що призначена для проведення дозвілля та розвитку навичок. Гравцю потрібно пройти від точки A до точки B, пересуваючи перешкоди. Для створення 3D гри використовується ігровий рушій Unity та програмне середовище – Microsoft Visual Studio, для реалізації музикального проєкту – Ableton Live.This thesis is devoted to the creation of a computer 3D game, namely a puzzle, based on the Unity engine and the implementation of a music project on the platform Ableton Live, which is created for leisure and skills development. The player needs to go from point A to point B, moving obstacles. To create a 3D game was used Unity game engine and software environment - Microsoft Visual Studio, to implement a music project - Ableton Live.Данная дипломная работа посвящена созданию комъютерной 3D игры, а именно головоломки, на базе двигателя Unity и реализация музыкального проекта на платформе Ableton Live, которая предназначена для проведения досуга и развития навыков. Игроку нужно пройти от точки А к точке В, передвигая препятствия. Для создания 3D-игры используется игровой движок Unity и программная среда - Microsoft Visual Studio, для реализации музыкального проекта - Ableton Live

Jammin-gpt:Text-based Improvisation using LLMs in Ableton Live

We introduce a system that allows users of Ableton Live to create MIDI-clips by naming them with musical descriptions. Users can compose by typing the desired musical content directly in Ableton's clip view, which is then inserted by our integrated system. This allows users to stay in the flow of their creative process while quickly generating musical ideas. The system works by prompting ChatGPT to reply using one of several text-based musical formats, such as ABC notation, chord symbols, or drum tablature. This is an important step in integrating generative AI tools into pre-existing musical workflows, and could be valuable for content makers who prefer to express their creative vision through descriptive language. Code is available at https://github.com/supersational/JAMMIN-GPT

The art and ‘science’ of opera: composing, staging & designing new forms of interactive theatrical performance

New technologies, such as Virtual Reality (VR), Robotics and Artificial Intelligence (AI) are steadily having an impact upon the world of opera. The evolving use of performance-based software such as Ableton Live and Max/MSP has created new and exciting compositional techniques that intertwine theatrical and musical performance. This poster presents some initial work on the development of an opera using such technologies that is being composed by Kallionpää and Chamberlain

Brassy Hues: An EP and Arrangement Portfolio Featuring Brass

This project is to further develop abilities as a music producer, primarily through expanding upon skills in writing, arranging, and sound design. I utilized my knowledge of brass instruments to create an EP (extended play record) and arrangement portfolio that combines previous understanding of music with the new knowledge gained through Berklee’s music technology, production, and innovation program. This was achieved this by utilizing knowledge of music theory and its foundational aspects, combined with newfound experience, applications, and techniques at Berklee to tell other people’s stories as well as a story of brass and its corresponding colors.https://remix.berklee.edu/graduate-studies-production-technology/1209/thumbnail.jp