Functionality and history of electronics in regards to the performance practice of the following works: Temazcal (1984), Javier Álvarez, and Memory Palace (2012), Christopher Cerrone

Master's Project (M.Mu.) University of Alaska Fairbanks, 2016The Electroacoustic pieces; Temazcal (1984), by Javier Alvarez (b.1956), and Memory Palace (2012) by Christopher Cerrone (b.1984), each employ different types of electronic technologies in their realization through performance. This paper will discuss the origin and history of the technology applied respectively in the works. I will examine the role of percussion within the works, specifically in regards to learning and problem solving through technological challenges in order to effectively perform the compositions. By looking at Temazcal and Memory Palace through the context of their historical significance as electroacoustic works, the inherent functionality of the technology employed in each, and the resultant performance practices that have subsequently developed, a greater musical appreciation and understanding of electroacoustic works, in general, is possible

SameSameButDifferent v.02 – Iceland

The history of computer music is to a great extent the history of algorithmic composition. Here generative approaches are seen as an artistic technique. However, the generation of algorithmic music is normally done in the studio, where the music is aesthetically valued by the composer. The public only gets to know one, or perhaps few, variations of the expressive scope of the algorithmic system itself. In this paper, we describe a generative music system of infinite compositions, where the system itself is aimed for distribution and to be used on personal computers. This system has a dual structure of a compositional score and a performer that performs the score in real-time every time a piece is played. We trace the contextual background of such systems and potential future applications

Collaborative computer music composition and the emergence of the computer music designer

This thesis was submitted for the award of Doctor of Philosophy and was awarded by Brunel University London.This submission explores the development of collaborative computer music creation and the role of the Musical Assistant, or Computer Music Designer, or Live Electronics Designer, or RIM (Réalisateur en informatique musicale) and does so primarily through the consideration of a series of collaborations with composers over the last 18 years. The submission documents and evaluates a number of projects which exemplify my practice within collaborative computer music creation, whether in the form of live electronics, tape-based or fixed media work, as a live electronics performer, or working with composers and others to create original tools and music for artistic creations. A selection of works is presented to exemplify archetypes found within the relational structures of collaborative work. The relatively recent development of this activity as an independent metier is located within its historical context, a context in which my work has played a significant role. The submission evidences the innovative aspects of that work and, more generally, of the role of the Computer Music Designer through consideration of a number of Max patches and program examples especially created for the works under discussion. Finally, the validation of the role of the Computer Music Designer as a new entity within the world of music creation is explored in a range of contexts, demonstrating the ways in which Computer Music Designers not only collaborate in the creation of new work but also generate new resources for computer-based music and new creative paradigms

Improvising with the threnoscope: integrating code, hardware, GUI, network, and graphic scores

Live coding emphasises improvisation. It is an art practice that merges the act of musical composition and performance into a public act of projected writing. This paper introduces the Threnoscope system, which includes a live coding micro-language for drone-based microtonal composition. The paper discusses the aims and objectives of the system, elucidates the design decisions, and introduces in particular the code score feature present in the Threnoscope. The code score is a novel element in the design of live coding systems allowing for improvisation through a graphic score, rendering a visual representation of past and future events in a real-time performance. The paper demonstrates how the system’s methods can be mapped ad hoc to GUI- or hardware-based control

Painting with Sound: Exploring Transformational Aspects of Studio Production Processes, within the framework of Acousmatic Music Practice

This Thesis investigates a series of transformative studio production processes used in the creation of Acousmatic music from fixed media sourced on a research trip to the Huế peninsula in Vietnam. It also looks at a history of the graphical arrange page in a Digital Audio Workstation and relates to the graphical metaphors in the depiction of the sound objects used in the graphical arrange page to Denis Smally’s Spectromorphological analytic framework

Artistic creation and computer interactive multisensory simulation force feedback gesture transducers

International audienceThe team built up from 1976 with fundamental aims motivated by the computer entering in several fields of artistic creation. The deep mutation represented by the computer, regarding the technology history, required a new and fundamental analysis of the role of the material tools in artistic creation as well as the role of the computer itself as tool. New concepts and theories were necessary that cannot be simply deduced from the previous. The computer was then envisaged to introduce explicitly a new mediation level in the creation process, through the paradigm of the interactive and multisensory simulation (IMS) of physical objects. This principle and its correlated techniques are the core of the computer creation tool envisaged. The higher level functionality being built from this base

Mobile-Based Interactive Music for Public Spaces

With the emergence of modern mobile devices equipped with various types of built-in sensors, interactive art has become easily accessible to everyone, musicians and non-musicians alike. These efficient computers are able to analyze human activity, location, gesture, etc., and based on this information dynamically change, or create an artwork in realtime. This thesis presents an interactive mobile system that solely uses the standard embedded sensors available in current typical smart devices such as phones, and tablets to create an audio-only augmented reality for a singled out public space in order to explore the potential for social-musical interaction, without the need for any significant external infrastructure

A supervised approach for rhythm transcription based on tree series enumeration

© 2016 Adrien Ycart et al. We present a rhythm transcription system integrated in the computer-assisted composition environment OpenMusic. Rhythm transcription consists in translating a series of dated events into traditional music notation's pulsed and structured representation. As transcription is equivocal, our system favors interactions with the user to reach a satisfactory compromise between various criteria, in particular the precision of the transcription and the readability of the output score. It is based on a uniform approach, using a hierarchical representation of duration notation in the form of rhythm trees, and an efficient dynamic-programming algorithm that lazily evaluates the transcription solutions. It is run through a dedicated user interface allowing to interactively explore the solution set, visualize the solutions and locally edit them

A Supervised Approach for Rhythm Transcription Based on Tree Series Enumeration

International audienceWe present a rhythm transcription system integrated in the computer-assisted composition environment OpenMusic. Rhythm transcription consists in translating a series of dated events into traditional music notation's pulsed and structured representation. As transcription is equivocal, our system favors interactions with the user to reach a satisfactory compromise between various criteria, in particular the precision of the transcription and the readability of the output score. It is based on a uniform approach, using a hierarchical representation of duration notation in the form of rhythm trees, and an efficient dynamic-programming algorithm that lazily evaluates the transcription solutions. It is run through a dedicated user interface allowing to interactively explore the solution set, visualize the solutions and locally edit them

Tune in: Berklee College of Music, Center for Music Technology, Boston, Massachusetts

The design proposal is a center for music technology for the Berklee College of Music. The technology of music will blend with the technology of design to create a new, different place. The concept is to develop generative proposals that break the norms of “everyday life” through the creation of digital tools and processes. The ability to “disrupt someone’s lifestyle” is not done out of negative intentions, but to inspire one to break out and experience something new and exciting. Digital technologies enhance the process to provide key information in order to design and construct