Interactive Spaces: Model for Motion-based Music Applications

With the extensive utilization of touch screens, smartphones and various reactive surfaces, reality- based and intuitive interaction styles have now become customary. The employment of larger interactive areas, like floors or peripersonal three-dimensional spaces, further increase the reality- based interaction affordances, allowing full-body involvement and the development of a co- located, shared user experience. Embodied and spatial cognition play a fundamental role for the interaction in this kind of spaces, where users act in the reality with no device in the hands and obtain an audio and graphical output depending on their movements. Starting from the early experiments of Myron Krueger in 1971, responsive floors have been developed through various technologies including sensorized tiles and computer vision systems, to be employed in learn- ing environments, entertainment, games and rehabilitation. Responsive floors allow the spatial representation of concepts and for this reason are suitable for immediate communication and engagement. As many musical features have meaningful spatial representations, they can easily be reproduced in the physical space through a conceptual blending approach and be made available to a great number of users. This is the key idea for the design of the original music applications presented in this thesis. The applications, devoted to music learning, production and active listening, introduce a novel creative approach to music, which can be further assumed as a general paradigm for the design of motion-based learning environments. Application assessment with upper elementary and high school students has proved that users engagement and bodily inter- action have a high learning power, which can be a valid resource for deeper music knowledge and more creative learning processes. Although further interface tests showed that touch screen interaction performs better than full-body interaction, some important guidelines for the design of reactive floors applications have been obtained on the basis of these test results. Moreover, the conceptual framework developed for the design of music applications can represent a valid paradigm also in the general field of human-computer interaction

Toward an understanding of musical gesture : mapping expressive intention with the digital baton

Thesis (M.S.)--Massachusetts Institute of Technology, Program in Media Arts & Sciences, 1996.Includes bibliographical references (p. 131-136).Teresa Anne Marrin.M.S

Algorithmic Compositional Methods and their Role in Genesis: A Multi-Functional Real-Time Computer Music System

Algorithmic procedures have been applied in computer music systems to generate compositional products using conventional musical formalism, extensions of such musical formalism and extra-musical disciplines such as mathematical models. This research investigates the applicability of such algorithmic methodologies for real-time musical composition, culminating in Genesis, a multi-functional real-time computer music system written for Mac OS X in the SuperCollider object-oriented programming language, and contained in the accompanying DVD. Through an extensive graphical user interface, Genesis offers musicians the opportunity to explore the application of the sonic features of real-time sound-objects to designated generative processes via different models of interaction such as unsupervised musical composition by Genesis and networked control of external Genesis instances. As a result of the applied interactive, generative and analytical methods, Genesis forms a unique compositional process, with a compositional product that reflects the character of its interactions between the sonic features of real-time sound-objects and its selected algorithmic procedures. Within this thesis, the technologies involved in algorithmic methodologies used for compositional processes, and the concepts that define their constructs are described, with consequent detailing of their selection and application in Genesis, with audio examples of algorithmic compositional methods demonstrated on the accompanying DVD. To demonstrate the real-time compositional abilities of Genesis, free explorations with instrumentalists, along with studio recordings of the compositional processes available in Genesis are presented in audiovisual examples contained in the accompanying DVD. The evaluation of the Genesis system’s capability to form a real-time compositional process, thereby maintaining real-time interaction between the sonic features of real-time sound objects and its selected algorithmic compositional methods, focuses on existing evaluation techniques founded in HCI and the qualitative issues such evaluation methods present. In terms of the compositional products generated by Genesis, the challenges in quantifying and qualifying its compositional outputs are identified, demonstrating the intricacies of assessing generative methods of compositional processes, and their impact on a resulting compositional product. The thesis concludes by considering further advances and applications of Genesis, and inviting further dissemination of the Genesis system and promotion of research into evaluative methods of generative techniques, with the hope that this may provide additional insight into the relative success of products generated by real-time algorithmic compositional processes

AN APPROACH TO MACHINE DEVELOPMENT OF MUSICAL ONTOGENY

This Thesis pursues three main objectives: (i) to use computational modelling to explore how music is perceived, cognitively processed and created by human beings; (ii) to explore interactive musical systems as a method to model and achieve the transmission of musical influence in artificial worlds and between humans and machines; and (iii) to experiment with artificial and alternative developmental musical routes in order to observe the evolution of musical styles. In order to achieve these objectives, this Thesis introduces a new paradigm for the design of computer interactive musical systems called the Ontomemetical Model of Music Evolution - OMME, which includes the fields of musical ontogenesis and memetlcs. OMME-based systems are designed to artificially explore the evolution of music centred on human perceptive and cognitive faculties. The potential of the OMME is illustrated with two interactive musical systems, the Rhythmic Meme Generator (RGeme) and the Interactive Musical Environments (iMe). which have been tested in a series of laboratory experiments and live performances. The introduction to the OMME is preceded by an extensive and critical overview of the state of the art computer models that explore musical creativity and interactivity, in addition to a systematic exposition of the major issues involved in the design and implementation of these systems. This Thesis also proposes innovative solutions for (i) the representation of musical streams based on perceptive features, (ii) music segmentation, (iii) a memory-based music model, (iv) the measure of distance between musical styles, and (v) an impi*ovisation-based creative model

Designing and Composing for Interdependent Collaborative Performance with Physics-Based Virtual Instruments

Interdependent collaboration is a system of live musical performance in which performers can directly manipulate each other’s musical outcomes. While most collaborative musical systems implement electronic communication channels between players that allow for parameter mappings, remote transmissions of actions and intentions, or exchanges of musical fragments, they interrupt the energy continuum between gesture and sound, breaking our cognitive representation of gesture to sound dynamics. Physics-based virtual instruments allow for acoustically and physically plausible behaviors that are related to (and can be extended beyond) our experience of the physical world. They inherently maintain and respect a representation of the gesture to sound energy continuum. This research explores the design and implementation of custom physics-based virtual instruments for realtime interdependent collaborative performance. It leverages the inherently physically plausible behaviors of physics-based models to create dynamic, nuanced, and expressive interconnections between performers. Design considerations, criteria, and frameworks are distilled from the literature in order to develop three new physics-based virtual instruments and associated compositions intended for dissemination and live performance by the electronic music and instrumental music communities. Conceptual, technical, and artistic details and challenges are described, and reflections and evaluations by the composer-designer and performers are documented

Theatrical Elements in Toru Takemitsu\u27s Voice and Karlheinz Stockhausen\u27s Zungenspitzentanz

The flute has long been recognized for maintaining avian or mythological roles within music. The repertoire of the avant-garde era, however, has vastly changed the aural expectations to include more aggressive sounds through the use of extended techniques. Even though so-called extended techniques are often viewed as a new development, several have been in practice since the fourth and fifth centuries. A historical overview of such techniques demonstrates their significance in contemporary music. More recently, the solo flute repertoire has included interdisciplinary art forms such as theatrical elements, a much newer concept that was integrated during the mid-twentieth century. Though rarely found within the solo flute and piccolo repertoire, dramatics such as spoken text and physical movement were first incorporated in Voice in 1971 by Tōru Takemitsu and in Zungenspitzentanz in 1983 by Karlheinz Stockhausen. The use of theatrics helps to define the formal structure of the pieces as well as enhances the mood of the works and creates visual interest for the audience. This combination of concert music with performance art creates a niche for musicians hoping to develop ensembles that can venture beyond traditional performance categories

SIX: fluid leadership and aural arranging within the context of contemporary a cappella

Despite increasing popularity and interest in contemporary a cappella, little research exists involving this genre of music making. In this study, I investigated how SIX, a professional contemporary a cappella group, utilizes a primary practice of aural arranging to create original, a cappella cover arrangements entirely by ear. From one initial question and use of classic grounded theory analysis, three questions emerged: what did SIX do, how did SIX carry out what they do, and what characterizes how SIX carries out what they do? The substantive theory of aural arranging and the substantive and formal theories of fluid leadership emerged from the data. The theory of aural arranging posits that SIX creates original cover arrangements by ear through the use of interactive activities initiated by application of task and social-emotional leadership. This substantive theory addresses the questions: what does SIX do and how does SIX carry out what they do? The theory of fluid leadership posits that SIX uses a form of horizontal leadership governed by five principles; 1) no single, primary leader, 2) leading in areas of strength, 3) accurate awareness of strengths, 4) a practice of unassuming leadership, and 5) the maintenance of a healthy relational climate. These substantive and formal theories address the question, what characterizes how SIX carries out what they do? Aural arranging and fluid leadership emerged from an environment of complex challenges wherein SIX established environments of safety and empowerment, promoting the sharing and utilization of musical and leadership thinking and knowing toward creation of an aural arrangement. Although the findings from this research are not generalizable given the single case study methodology, the theory of aural arranging presents a viable structure for creation of aural arrangements in other contemporary a cappella groups, and fluid leadership illustrates potential as a leadership model within small musical ensembles both within and beyond the formal music education classroom. The principles of fluid leadership may potentially be useful in dissimilar small groups traversing many disciplines. This study expands and enhances the current knowledge base related to contemporary a cappella, aural arranging, and leadership within small ensembles and groups

Live Sampling in Improvised Musical Performance: Three Approaches and a Discussion of Aesthetics

Three original software programs utilizing improvisation and live sampling are presented here, along with a discussion of aesthetic issues raised by each. They are entitled Zur Elektrodynamik bewegter Musiker, Motet, and Gamepad Sampler. These programs vary in the degree of required interaction and in the kind of user control. They are each studies in imitative counterpoint through live sampling, with an approach seeking elegance before solutions. Because of the improvisational nature of these works, there is no standard musical score. Instead the complete Max/MSP source code and a sound recording of performances making use of these programs in varied situations are included. A discussion of issues raised by these works includes aesthetics, ontology, performance, and the role of the composer. Non-interactive indeterminate compositions are ontologically thin, because some composerly agency is required of the performer. An interactive work can be ontologically substantial if it makes distinct and significant contributions to performance, even though it may not make sound on its own. Although reproducibility reduces ontology and eliminates aura, live sampling within a performance can deepen the ontology of the performance by recontextualizing previous events, reframing the original event as the first reference to an abstract musical idea that lies outside the musical performance. Reproducibility also diminishes the aura or stage presence in live performance with computers. Complex feedback systems can be used to create computation instruments: musical instruments whose unique structure resonates in ways not explicit in their programs. As the human condition and the situation of the composer change, definitions of the composer and performer must be revised. Composition is shifting away from the creation of static artifacts toward the design of dynamic systems