Computer Music Automata
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Touchpoint: Dynamically Re-Routable Effects Processing As a Multi-Touch Tablet Instrument
Proceedings ICMC|SMC|2014 14-20 September 2014, Athens, Greece Touchpoint: Dynamically Re-Routable Effects Processing as a Multi-Touch Tablet Instrument Nicholas K. Suda Owen S. Vallis, Ph.D California Institute of the Arts California Institute of the Arts 24700 McBean Pkwy. 24700 McBean Pkwy. Valencia, California 91355 Valencia, California 91355 United States United States [email protected] [email protected] ABSTRACT Touchpoint is a multi-touch tablet instrument which pre- sents the chaining-together of non-linear effects processors as its core music synthesis technique. In doing so, it uti- lizes the on-the-fly re-combination of effects processors as the central mechanic of performance. Effects Processing as Synthesis is justified by the fact that that the order in which non-linear systems are arranged re- sults in a diverse range of different output signals. Be- cause the Effects Processor Instrument is a collection of software, the signal processing ecosystem is virtual. This means that processors can be re-defined, re-configured, cre- Figure 1. The sprawl of peripherals used to control IDM ated, and destroyed instantaneously, as a “note-level” mu- artist Tim Exile’s live performance. sical decision within a performance. The software of Touchpoint consists of three compo- nents. The signal processing component, which is address- In time stretching, pitch correcting, sample replacing, no- ed via Open Sound Control (OSC), runs in Reaktor Core. ise reducing, sound file convolving, and transient flagging The touchscreen component runs in the iOS version of Le- their recordings, studio engineers of every style are reg- mur, and the networking component uses ChucK. -
Wendy Reid Composer
WENDY REID COMPOSER 1326 Shattuck Avenue #2 Berkeley, California 94709 [email protected] treepieces.net EDUCATION 1982 Stanford University, CCRMA, Post-graduate study Workshop in computer-generated music with lectures by John Chowning, Max Mathews, John Pierce and Jean-Claude Risset 1978-80 Mills College, M.A. in Music Composition Composition with Terry Riley, Robert Ashley and Charles Shere Violin and chamber music with the Kronos Quartet 1975-77 Ecoles D’Art Americaines, Palais de Fontainbleau and Paris, France: Composition with Nadia Boulanger; Classes in analysis, harmony, counterpoint, composition; Solfege with assistant Annette Dieudonne 1970-75 University of Southern California, School of Performing Arts, B.M. in Music Composition, minor in Violin Performance Composition with James Hopkins, Halsey Stevens and film composer David Raksin 1 AWARDS, GRANTS, and COMMISSIONS Meet The Composer/California Meet The Composer/New York Subito Composer Grant ASMC Grant Paul Merritt Henry Award Hellman Award The Oakland Museum The Nature Company Sound/Image Unlimited Graduate Assistantship California State Scholarship Honors at Entrance USC National Merit Award Finalist National Educational Development Award Finalist Commission, Brassiosaurus (Tomita/Djil/ Heglin):Tree Piece #52 Commission, Joyce Umamoto: Tree Piece #42 Commission, Abel-Steinberg-Winant Trio: Tree Piece #41 Commission, Tom Dambly: Tree Piece #31 Commission, Mary Oliver: Tree Piece #21 Commission, Don Buchla: Tree Piece #17 Commission, William Winant: Tree Piece #10 DISCOGRAPHY LP/Cassette: TREE PIECES (FROG RECORDS,1988/ FROG PEAK) CD: TREEPIECES(FROG RECORDS, 2002/ FROGPEAK) TREE PIECES volume 2 (NIENTE, 2004 / FROGPEAK) TREE PIECE SINGLE #1: LULU VARIATIONS (NIENTE, 2009) TREE PIECE SINGLE #2: LU-SHOO FRAGMENTS (NIENTE, 2010) 2 PUBLICATIONS Scores: Tree Pieces/Frog On Rock/Game of Tree/Klee Pieces/Glass Walls/Early Works (Frogpeak Music/Sound-Image/W. -
Theory, Experience and Affect in Contemporary Electronic Music Trans
Trans. Revista Transcultural de Música E-ISSN: 1697-0101 [email protected] Sociedad de Etnomusicología España Strachan, Robert Uncanny Space: Theory, Experience and Affect in Contemporary Electronic Music Trans. Revista Transcultural de Música, núm. 14, 2010, pp. 1-10 Sociedad de Etnomusicología Barcelona, España Available in: http://www.redalyc.org/articulo.oa?id=82220947010 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative TRANS - Revista Transcultural de Música - Transcultural Music Revie... http://www.sibetrans.com/trans/a14/uncanny-space-theory-experience-... Home PRESENTACIÓN EQUIPO EDITORIAL INFORMACIÓN PARA LOS AUTORES CÓMO CITAR TRANS INDEXACIÓN CONTACTO Última publicación Números publicados < Volver TRANS 14 (2010) Convocatoria para artículos: Uncanny Space: Theory, Experience and Affect in Contemporary Electronic Music Explorar TRANS: Por Número > Robert Strachan Por Artículo > Por Autor > Abstract This article draws upon the author’s experiences of promoting an music event featuring three prominent European electronic musicians (Alva Noto, Vladislav Delay and Donnacha Costello) to examine the tensions between the theorisation of electronic music and the way it is experienced. Combining empirical analysis of the event itself and frequency analysis of the music used within it, the article works towards a theoretical framework that seeks to account for the social and physical contexts of listening. It suggests that affect engendered by the physical intersection of sound with the body provides a key way of understanding Share | experience, creativity and culture within contemporary electronic music. -
Resonant Spaces Notes
Andrew McPherson Resonant Spaces for cello and live electronics Performance Notes Overview This piece involves three components: the cello, live electronic processing, and "sequenced" sounds which are predetermined but which render in real time to stay synchronized to the per- former. Each component is notated on a separate staff (or pair of staves) in the score. The cellist needs a bridge contact pickup on his or her instrument. It can be either integrated into the bridge or adhesively attached. A microphone will not work as a substitute, because the live sound plays back over speakers very near to the cello and feedback will inevitably result. The live sound simulates the sound of a resonating string (and, near the end of the piece, ringing bells). This virtual string is driven using audio from the cello. Depending on the fundamental frequency of the string and the note played by the cello, different pitches are produced and played back by speakers placed near the cellist. The sequenced sounds are predetermined, but are synchronized to the cellist by means of a series of cue points in the score. At each cue point, the computer pauses and waits for the press of a footswitch to advance. In some cases, several measures go by without any cue points, and it is up to the cellist to stay synchronized to the sequenced sound. An in-ear monitor with a click track is available in these instances to aid in synchronization. The electronics are designed to be controlled in real-time by the cellist, so no other technician is required in performance. -
Tosca: an OSC Communication Plugin for Object-Oriented Spatialization Authoring
ICMC 2015 – Sept. 25 - Oct. 1, 2015 – CEMI, University of North Texas ToscA: An OSC Communication Plugin for Object-Oriented Spatialization Authoring Thibaut Carpentier UMR 9912 STMS IRCAM-CNRS-UPMC 1, place Igor Stravinsky, 75004 Paris [email protected] ABSTRACT or consensus on the representation of spatialization metadata (in spite of several initiatives [11, 12]) complicates the inter- The paper presents ToscA, a plugin that uses the OSC proto- exchange between applications. col to transmit automation parameters between a digital audio This paper introduces ToscA, a plugin that allows to commu- workstation and a remote application. A typical use case is the nicate automation parameters between a digital audio work- production of an object-oriented spatialized mix independently station and a remote application. The main use case is the of the limitations of the host applications. production of massively multichannel object-oriented spatial- ized mixes. 1. INTRODUCTION There is today a growing interest in sound spatialization. The 2. WORKFLOW movie industry seems to be shifting towards “3D” sound sys- We propose a workflow where the spatialization rendering tems; mobile devices have radically changed our listening engine lies outside of the workstation (Figure 1). This archi- habits and multimedia broadcast companies are evolving ac- tecture requires (bi-directional) communication between the cordingly, showing substantial interest in binaural techniques DAW and the remote renderer, and both the audio streams and and interactive content; massively multichannel equipments the automation data shall be conveyed. After being processed and transmission protocols are available and they facilitate the by the remote renderer, the spatialized signals could either installation of ambitious speaker setups in concert halls [1] or feed the reproduction setup (loudspeakers or headphones), be exhibition venues. -
The Importance of Being Digital Paul Lansky 3/19/04 Tart-Lecture 2004
The Importance of Being Digital Paul Lansky 3/19/04 tART-lecture 2004 commissioneed by the tART Foundation in Enschede and the Gaudeamus Foundation in Amsterdam Over the past twenty years or so the representation, storage and processing of sound has moved from analog to digital formats. About ten years audio and computing technologies converged. It is my contention that this represents a significant event in the history of music. I begin with some anecdotes. My relation to the digital processing and music begins in the early 1970’s when I started working intensively on computer synthesis using Princeton University’s IBM 360/91 mainframe. I had never been interested in working with analog synthesizers or creating tape music in a studio. The attraction of the computer lay in the apparently unlimited control it offered. No longer were we subject to the dangers of razor blades when splicing tape or to drifting pots on analog synthesizers. It seemed simple: any sound we could describe, we could create. Those of us at Princeton who were caught up in serialism, moreover, were particularly interested in precise control over pitch and rhythm. We could now realize configurations that were easy to hear but difficult and perhaps even impossible to perform by normal human means. But, the process of bringing our digital sound into the real world was laborious and sloppy. First, we communicated with the Big Blue Machine, as we sometimes called it, via punch cards: certainly not a very effective interface. Next, we had a small lab in the Engineering Quadrangle that we used for digital- analog and analog-digital conversion. -
Introduction to Computer Music Week 1
Introduction to Computer Music Week 1 Instructor: Prof. Roger B. Dannenberg Topics Discussed: Sound, Nyquist, SAL, Lisp and Control Constructs 1 Introduction Computers in all forms – desktops, laptops, mobile phones – are used to store and play music. Perhaps less obvious is the fact that music is now recorded and edited almost exclusively with computers, and computers are also used to generate sounds either by manipulating short audio clips called samples or by direct computation. In the late 1950s, engineers began to turn the theory of sampling into practice, turning sound into bits and bytes and then back into sound. These analog-to-digital converters, capable of turning one second’s worth of sound into thousands of numbers made it possible to transform the acoustic waves that we hear as sound into long sequences of numbers, which were then stored in computer memories. The numbers could then be turned back into the original sound. The ability to simply record a sound had been known for quite some time. The major advance of digital representations of sound was that now sound could be manipulated very easily, just as a chunk of data. Advantages of employing computer music and digital audio are: 1. There are no limits to the range of sounds that a computer can help explore. In principle, any sound can be represented digitally, and therefore any sound can be created. 2. Computers bring precision. The process to compute or change a sound can be repeated exactly, and small incremental changes can be specified in detail. Computers facilitate microscopic changes in sounds enabling us to producing desirable sounds. -
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. -
Implementing Stochastic Synthesis for Supercollider and Iphone
Implementing stochastic synthesis for SuperCollider and iPhone Nick Collins Department of Informatics, University of Sussex, UK N [dot] Collins ]at[ sussex [dot] ac [dot] uk - http://www.cogs.susx.ac.uk/users/nc81/index.html Proceedings of the Xenakis International Symposium Southbank Centre, London, 1-3 April 2011 - www.gold.ac.uk/ccmc/xenakis-international-symposium This article reflects on Xenakis' contribution to sound synthesis, and explores practical tools for music making touched by his ideas on stochastic waveform generation. Implementations of the GENDYN algorithm for the SuperCollider audio programming language and in an iPhone app will be discussed. Some technical specifics will be reported without overburdening the exposition, including original directions in computer music research inspired by his ideas. The mass exposure of the iGendyn iPhone app in particular has provided a chance to reach a wider audience. Stochastic construction in music can apply at many timescales, and Xenakis was intrigued by the possibility of compositional unification through simultaneous engagement at multiple levels. In General Dynamic Stochastic Synthesis Xenakis found a potent way to extend stochastic music to the sample level in digital sound synthesis (Xenakis 1992, Serra 1993, Roads 1996, Hoffmann 2000, Harley 2004, Brown 2005, Luque 2006, Collins 2008, Luque 2009). In the central algorithm, samples are specified as a result of breakpoint interpolation synthesis (Roads 1996), where breakpoint positions in time and amplitude are subject to probabilistic perturbation. Random walks (up to second order) are followed with respect to various probability distributions for perturbation size. Figure 1 illustrates this for a single breakpoint; a full GENDYN implementation would allow a set of breakpoints, with each breakpoint in the set updated by individual perturbations each cycle. -
Computer Music Studio and Sonic Lab at Anton Bruckner University
Computer Music Studio and Sonic Lab research zone (Computermusik-Forschungsraum), a workstation, an archive room/depot and (last but not at Anton Bruckner University least) offices for colleagues and the directors. Studio Report 2.1. Sonic Lab The Sonic Lab is an intermedia computer music concert Andreas Weixler Se-Lien Chuang hall with periphonic speaker system, created by Andreas Weixler for the Bruckner University to enable internatio- Anton Bruckner University Atelier Avant Austria nal exchanges for teaching and production with other Computer Music Studio Austria/EU developed computer music studios. 20 full range audio [email protected] Linz, Austria/EU channels plus 4 subsonic channels surround the audience, [email protected] enabling sounds to move in space in both the horizontal and vertical planes. A double video and data projection Figure 2 capability allows the performance of audiovisual works . preparation at the Sonic Lab and also the accommodation of conferences, etc. ABSTRACT The Computer Music Studio organizes numerous concert In the opening concert compositions by John Chowning Voices and lecture series, regionally, nationally and internation- ( - for Maureen Chowning - v.3 for soprano and The CMS (Computer Music Studio) [1] at Anton Bruckn- BEASTiary ally [3]. electronics), Jonty Harrison ( ), Karlheinz Essl er University in Linz, Austria is hosted now in a new (Autumn's Leaving for pipa and live electronics), Se-Lien building with two new studios including conceptional 1.1. History Chuang (Nowhereland for extended piano, bass clarinet, side rooms and a multichannel intermedia computer mu- multichannel electro-acoustics and live electronics) and sic concert hall - the Sonic Lab [2]. -
Editorial: Alternative Histories of Electroacoustic Music
This is a repository copy of Editorial: Alternative histories of electroacoustic music. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/119074/ Version: Accepted Version Article: Mooney, J orcid.org/0000-0002-7925-9634, Schampaert, D and Boon, T (2017) Editorial: Alternative histories of electroacoustic music. Organised Sound, 22 (02). pp. 143-149. ISSN 1355-7718 https://doi.org/10.1017/S135577181700005X This article has been published in a revised form in Organised Sound http://doi.org/10.1017/S135577181700005X. This version is free to view and download for private research and study only. Not for re-distribution, re-sale or use in derivative works. © Cambridge University Press Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ EDITORIAL: Alternative Histories of Electroacoustic Music In the more than twenty years of its existence, Organised Sound has rarely focussed on issues of history and historiography in electroacoustic music research. -
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.