A NIME Reader Fifteen Years of New Interfaces for Musical Expression
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UBC High Notes Newsletter of the School of Music at the University of British Columbia
UBC High Notes Newsletter of the School of Music at the University of British Columbia Fall 2012 Director’s Welcome Welcome to the fourteenth edition of High Notes, celebrating the recent activities and major achievements of the faculty and students in the UBC School of Music! I think you will find the diversity and quality of accomplishments impressive and inspiring. A major highlight for me this year is the opportunity to welcome three exciting new full-time faculty members. Pianist Mark Anderson, with an outstanding international reputation gave a brilliant first recital at the School in October.Jonathan Girard, our new Director of the UBC Symphony Orchestra, and Assistant Professor of Conducting, led the UBC Symphony Orchestra in a full house of delighted audience members at the Chan Centre on November 9th. Musicologist Hedy Law, a specialist in 18th-century French opera and ballet is, has already established herself well with students and faculty in the less public sphere of our academic activities. See page 4 to meet these new faculty members who are bringing wonderful new artistic and scholarly energies to the School. It is exciting to see the School evolve through its faculty members! Our many accomplished part-time instructors are also vital to the success and profile of the School. This year we welcome to our team several UBC music alumni who have won acclaim as artists and praise as educators: cellist John Friesen, composer Jocelyn Morlock, film and television composer Hal Beckett, and composer-critic-educator David Duke. They embody the success of our programs, and the impact of the UBC School of Music on the artistic life of our province and nation. -
Computer Music
THE OXFORD HANDBOOK OF COMPUTER MUSIC Edited by ROGER T. DEAN OXFORD UNIVERSITY PRESS OXFORD UNIVERSITY PRESS Oxford University Press, Inc., publishes works that further Oxford University's objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2009 by Oxford University Press, Inc. First published as an Oxford University Press paperback ion Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data The Oxford handbook of computer music / edited by Roger T. Dean. p. cm. Includes bibliographical references and index. ISBN 978-0-19-979103-0 (alk. paper) i. Computer music—History and criticism. I. Dean, R. T. MI T 1.80.09 1009 i 1008046594 789.99 OXF tin Printed in the United Stares of America on acid-free paper CHAPTER 12 SENSOR-BASED MUSICAL INSTRUMENTS AND INTERACTIVE MUSIC ATAU TANAKA MUSICIANS, composers, and instrument builders have been fascinated by the expres- sive potential of electrical and electronic technologies since the advent of electricity itself. -
The Evolution of the Performer Composer
CONTEMPORARY APPROACHES TO LIVE COMPUTER MUSIC: THE EVOLUTION OF THE PERFORMER COMPOSER BY OWEN SKIPPER VALLIS A thesis submitted to the Victoria University of Wellington in fulfillment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington 2013 Supervisory Committee Dr. Ajay Kapur (New Zealand School of Music) Supervisor Dr. Dugal McKinnon (New Zealand School of Music) Co-Supervisor © OWEN VALLIS, 2013 NEW ZEALAND SCHOOL OF MUSIC ii ABSTRACT This thesis examines contemporary approaches to live computer music, and the impact they have on the evolution of the composer performer. How do online resources and communities impact the design and creation of new musical interfaces used for live computer music? Can we use machine learning to augment and extend the expressive potential of a single live musician? How can these tools be integrated into ensembles of computer musicians? Given these tools, can we understand the computer musician within the traditional context of acoustic instrumentalists, or do we require new concepts and taxonomies? Lastly, how do audiences perceive and understand these new technologies, and what does this mean for the connection between musician and audience? The focus of the research presented in this dissertation examines the application of current computing technology towards furthering the field of live computer music. This field is diverse and rich, with individual live computer musicians developing custom instruments and unique modes of performance. This diversity leads to the development of new models of performance, and the evolution of established approaches to live instrumental music. This research was conducted in several parts. The first section examines how online communities are iteratively developing interfaces for computer music. -
Interactive Music Visualization – Implementation, Realization and Evaluation MASTER DISSERTATION
DM DM Interactive Music Visualization – Implementation, Realization and Evaluation MASTER DISSERTATION Nome Autor do Marco Filipe Ganança Vieira MASTER IN INFORMATICS ENGINEERING Interactive Music Visualization – Implementation, Interactive Music Visualization Realization and Evaluation Marco Filipe Ganança Vieira September | 2012 Nome do Projecto/Relatório/Dissertação de Mestrado e/ou Tese de Doutoramento | Nome do Projecto/Relatório/Dissertação de Mestrado e/ou Tese DIMENSÕES: 45 X 29,7 cm NOTA* PAPEL: COUCHÊ MATE 350 GRAMAS Caso a lombada tenha um tamanho inferior a 2 cm de largura, o logótipo institucional da UMa terá de rodar 90º , para que não perca a sua legibilidade|identidade. IMPRESSÃO: 4 CORES (CMYK) ACABAMENTO: LAMINAÇÃO MATE Caso a lombada tenha menos de 1,5 cm até 0,7 cm de largura o laoyut da mesma passa a ser aquele que consta no lado direito da folha. Interactive Music Visualization – Implementation, Realization and Evaluation MASTER DISSERTATION Marco Filipe Ganança Vieira MASTER IN INFORMATICS ENGINEERING ORIENTAÇÃO Mon-Chu Chen Abstract This thesis describes all process of the development of music visualization, starting with the implementation, followed by realization and then evaluation. The main goal is to have to knowledge of how the audience live performance experience can be enhanced through music visualization. With music visualization is possible to give a better understanding about the music feelings constructing an intensive atmosphere in the live music performance, which enhances the connection between the live music and the audience through visuals. These visuals have to be related to the live music, furthermore has to quickly respond to live music changes and introduce novelty into the visuals. -
Third Practice Electroacoustic Music Festival Department of Music, University of Richmond
University of Richmond UR Scholarship Repository Music Department Concert Programs Music 11-3-2017 Third Practice Electroacoustic Music Festival Department of Music, University of Richmond Follow this and additional works at: https://scholarship.richmond.edu/all-music-programs Part of the Music Performance Commons Recommended Citation Department of Music, University of Richmond, "Third Practice Electroacoustic Music Festival" (2017). Music Department Concert Programs. 505. https://scholarship.richmond.edu/all-music-programs/505 This Program is brought to you for free and open access by the Music at UR Scholarship Repository. It has been accepted for inclusion in Music Department Concert Programs by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. LJ --w ...~ r~ S+ if! L Christopher Chandler Acting Director WELCOME to the 2017 Third festival presents works by students Practice Electroacoustic Music Festi from schools including the University val at the University of Richmond. The of Mary Washington, University of festival continues to present a wide Richmond, University of Virginia, variety of music with technology; this Virginia Commonwealth University, year's festival includes works for tra and Virginia Tech. ditional instruments, glass harmon Festivals are collaborative affairs ica, chin, pipa, laptop orchestra, fixed that draw on the hard work, assis media, live electronics, and motion tance, and commitment of many. sensors. We are delighted to present I would like to thank my students Eighth Blackbird as ensemble-in and colleagues in the Department residence and trumpeter Sam Wells of Music for their engagement, dedi as our featured guest artist. cation, and support; the staff of the Third Practice is dedicated not Modlin Center for the Arts for their only to the promotion and creation energy, time, and encouragement; of new electroacoustic music but and the Cultural Affairs Committee also to strengthening ties within and the Music Department for finan our community. -
Concerto for Laptop Ensemble and Orchestra
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 Concerto for Laptop Ensemble and Orchestra: The Ship of Theseus and Problems of Performance for Electronics With Orchestra: Taxonomy and Nomenclature Jonathan Corey Knoll Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Knoll, Jonathan Corey, "Concerto for Laptop Ensemble and Orchestra: The hipS of Theseus and Problems of Performance for Electronics With Orchestra: Taxonomy and Nomenclature" (2014). LSU Doctoral Dissertations. 248. https://digitalcommons.lsu.edu/gradschool_dissertations/248 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. CONCERTO FOR LAPTOP ENSEMBLE AND ORCHESTRA: THE SHIP OF THESEUS AND PROBLEMS OF PERFORMANCE FOR ELECTRONICS WITH ORCHESTRA: TAXONOMY AND NOMENCLATURE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by Jonathan Corey Knoll B.F.A., Marshall University, 2002 M.M., Bowling Green State University, 2006 December 2014 This dissertation is dedicated to the memory of Dr. Paul A. Balshaw (1938-2005). ii ACKNOWLEDGEMENTS First and foremost, I would like to thank Dr. Stephen David Beck, not only for his help with this dissertation, but for the time and effort put into my education and the opportunities he opened for me at LSU. -
Live Performance Where Congruent Musical, Visual, and Proprioceptive Stimuli Fuse to Form a Combined Aesthetic Narrative
Soma: live performance where congruent musical, visual, and proprioceptive stimuli fuse to form a combined aesthetic narrative Ilias Bergstrom UCL A thesis submitted for the degree of Doctor of Philosophy 2010 1 I, Ilias Bergstrom, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 Abstract Artists and scientists have long had an interest in the relationship between music and visual art. Today, many occupy themselves with correlated animation and music, called ‗visual music‘. Established tools and paradigms for performing live visual music however, have several limitations: Virtually no user interface exists, with an expressivity comparable to live musical performance. Mappings between music and visuals are typically reduced to the music‘s beat and amplitude being statically associated to the visuals, disallowing close audiovisual congruence, tension and release, and suspended expectation in narratives. Collaborative performance, common in other live art, is mostly absent due to technical limitations. Preparing or improvising performances is complicated, often requiring software development. This thesis addresses these, through a transdisciplinary integration of findings from several research areas, detailing the resulting ideas, and their implementation in a novel system: Musical instruments are used as the primary control data source, accurately encoding all musical gestures of each performer. The advanced embodied knowledge musicians have of their instruments, allows increased expressivity, the full control data bandwidth allows high mapping complexity, while musicians‘ collaborative performance familiarity may translate to visual music performance. The conduct of Mutable Mapping, gradually creating, destroying and altering mappings, may allow for a narrative in mapping during performance. -
Post-Cinematic Affect
Post-Cinematic Affect Steven Shaviro 0 BOO KS Winchester, UK Washington, USA r First published by 0-Books, 2010 O Books ls an imprint of John Hunt Publishing Ltd., The Bothy, Deershot Lodge, Park Lane, Ropley, CONTENTS Hants, S024 OBE, UK [email protected] www.o-books.com For distributor details and how to order please visit the 'Ordering' section on oUr website. Text copyright Steven Shaviro 2009 Preface vii ISBN: 978 1 84694 431 4 1 Introduction All rights reserved. Except for brief quotations in critical articles or reviews, no part of 1 this book may be reproduced in any manner without prior written permission from 2 Corporate Cannibal the publishers. 11 3 Boarding Gate The rights of Steven Shaviro as author have been asserted in accordance with the Copyright, 35 1988. 4 Designs and Patents Act Southland Tales 64 5 A CIP catalogue record for this book is available from the British Library. Gamer 93 6 Coda Design: Stuart Davies 131 Printed In the UK by CPI Antony Rowe Works Cited 140 Endnotes 153 We operate a distinctive and ethical publishing philosophy in all areas of its business, from its global network of authors to production and worldwide distribution. Preface This book is an expanded version of an essay that originally appeared in the online journal Film-Philosophy. Earlier versions of portions of this book were delivered as talks sponsored by the Affective Publics Reading Group at the University of Chicago, by the film and media departments at Goldsmiths College, Anglia Ruskin University, University of the West of England, and Salford University, by the "Emerging Encounters in Film Theory" conference at Kings College, by the Experience Music Project Pop Conference, by the Nordic Summer University, by the Reality Hackers lecture series at Trinity University, San Antonio, and by the War and Media Symposium and the Humanities Center at Wayne State University. -
An Introduction to Processing and Music Visualization
An Introduction to Processing and Music Visualization Christopher Pramerdorfer∗ Vienna University of Technology Figure 1: Processing is used in various disciplines, from art to visualization. This Figure is a composition of visualizations created with Processing. Some of the projects these visualizations come from are discussed in section 3.3. Abstract information through vision than through all the other senses combined [Ware 2004]. With the help of modern computers, interactive visualizations can be prepared automatically at Processing is a programming language and environment tar- time of use and according to the users needs. geted at artists and designers. It is used in various environ- ments for different purposes, from scientific data visualization Processing is a programming language and environment based to art installations. This paper is comprised of two parts. on the Java programming language [Oracle 2010]. Originally The purpose of the first part is to provide an insight into targeted at artists and designers, Processing has evolved Processing and its community as well as to showcase some into a full-blown design and prototyping tool used for large- projects that were created using Processing. The second part scale installation work, motion graphics, and complex data focuses on visualization of music. It gives a concise introduc- visualization [Fry 2008]. Processing runs on all common tion to the theory of how information can be derived from operating systems, is free to use, easy to learn, and provides sound signals and presents examples of how that information sophisticated drawing functionality. This makes Processing can be visualized using Processing. a great tool for visualization tasks, amongst others. -
Arte E Tecnologia Del Terzo Millennio. Scenari E Protagonisti
I QUADERNI della COLLEZIONE La riflessione sulla pervasività delle tecnologie nella società e nelle pratiche artistiche contemporanee apre molteplici scenari sul nostro prossimo futu- Con la collana I Quaderni della Collezione si realizza un progetto editoriale che Q d C ro. Superata la classica dicotomia arte+tecnologia, i nuovi ambiti di ricerca intende contribuire a stimolare, anche sul piano scientifico e accademico, una sono complessi e ricchi di implicazioni: l’iperintelligenza; il postumano fra riflessione sull’arte contemporanea, partendo da opere, temi e artisti presenti | 2 | cyborg e antropocene; l’Expanded Internet Art; dalla realtà estesa alla vide- in Collezione Farnesina. ogame art; la sound art; “l’artista inventore”. Il secondo volume della collana La Collezione Farnesina, raccolta d’arte contemporanea del Ministero degli I Quaderni della Collezione è dedicato a individuare questi nuovi scenari e a Affari Esteri e della Cooperazione Internazionale, nasce vent’anni or sono identificare gli artisti che operano nel settore, con una particolare attenzio- su iniziativa dell’allora Segretario Generale Ambasciatore Umberto Vattani, ne agli italiani di cui si realizza qui una prima mappatura globale. per sottolineare un preciso indirizzo progettuale del Ministero: fare dell’arte Studiare il loro lavoro, comprendere le dirompenti potenzialità del loro pensie- contemporanea un ambito prioritario d’intervento della propria politica cul- ro laterale, permette di acquisire indispensabili strumenti di lettura della no- turale. I QUADERNI -
Anglia Ruskin University Pulse Project
ANGLIA RUSKIN UNIVERSITY PULSE PROJECT: AN INVESTIGATION ACROSS BODIES, CULTURES AND TECHNOLOGY MICHELLE LEWIS-KING A thesis in partial fulfilment of the requirements of Anglia Ruskin University for the degree of DOCTOR OF PHILOSOPHY Submitted: August 2016 i Acknowledgements: Firstly, I wish to thank the Cultures of the Digital Economy Research Institute (CoDE) for their generous support of this project and for also providing support for the opportunities to present this research across the United Kingdom and Europe. I particularly would like to thank Dr Samantha Rayner (former director) and Dr Rob Toulson director of CoDE for their support and guidance of this project. I would also like to acknowledge my supervisors Dr David Ryan, Dr Milla Tiainen and Dr Richard Hoadley for their time and crucial insights, which have significantly contributed towards the development of this thesis. I wish to thank, all of the participants who have contributed their comments and presence to the Pulse Project study, especially those participants who collaborated with me in continued discussions beyond the original performance events and those participants who created their own work as a response to this research. I particularly wish to thank Paul Ooman and the 4DSOUND Team, Ryoko Akama and Sumie Kent for collaborating with me on projects that contributed to the further development of this research. I also wish to thank Cinzia Scorzon and Professor Volker Scheid for their clinical and scholarly instructions on the art of Chinese medicine practice. Finally, I wish to thank Léna Lewis-King and Nicholas Fudge for their support of this research and for assisting in documenting this project. -
An Ambisonics-Based VST Plug-In for 3D Music Production
POLITECNICO DI MILANO Scuola di Ingegneria dell'Informazione POLO TERRITORIALE DI COMO Master of Science in Computer Engineering An Ambisonics-based VST plug-in for 3D music production. Supervisor: Prof. Augusto Sarti Assistant Supervisor: Dott. Salvo Daniele Valente Master Graduation Thesis by: Daniele Magliozzi Student Id. number 739404 Academic Year 2010-2011 POLITECNICO DI MILANO Scuola di Ingegneria dell'Informazione POLO TERRITORIALE DI COMO Corso di Laurea Specialistica in Ingegneria Informatica Plug-in VST per la produzione musicale 3D basato sulla tecnologia Ambisonics. Relatore: Prof. Augusto Sarti Correlatore: Dott. Salvo Daniele Valente Tesi di laurea di: Daniele Magliozzi Matr. 739404 Anno Accademico 2010-2011 To me Abstract The importance of sound in virtual reality and multimedia systems has brought to the definition of today's 3DA (Tridimentional Audio) techniques allowing the creation of an immersive virtual sound scene. This is possible virtually placing audio sources everywhere in the space around a listening point and reproducing the sound-filed they generate by means of suitable DSP methodologies and a system of two or more loudspeakers. The latter configuration defines multichannel reproduction tech- niques, among which, Ambisonics Surround Sound exploits the concept of spherical harmonics sound `sampling'. The intent of this thesis has been to develop a software tool for music production able to manage more source signals to virtually place them everywhere in a (3D) space surrounding a listening point em- ploying Ambisonics technique. The developed tool, called AmbiSound- Spazializer belong to the plugin software category, i.e. an expantion of already existing software that play the role of host. I Sommario L'aspetto sonoro, nella simulazione di realt`avirtuali e nei sistemi multi- mediali, ricopre un ruolo fondamentale.