Towards the Realisation of a fully integrated Interactive Computer Music System (ICMS), adopting Transformative Expressive Dimensions George Meikle Doctor of Philosophy in Music University of Salford School of Arts & Media 2017 Contents List of Figures 5 Acknowledgements 8 Declaration 9 List of Abbreviations 10 Abstract 11 1. Introduction 12 2. Literature Review 15 2.1 Philosophical/Aesthetic Context for Open Interpretation and Interactivity in Contemporary Arts 15 2.2 The beginnings of Computer­Aided Algorithmic Composition (CAAC) and Generative Music 19 2.3 Early and Experimental Interactive Works and Systems 25 2.4 Web and Touchscreen­based Interactive Music Applications and Games 29 2.5 HCI in Popular Electronic Music Records/Releases and Music­Creation Applications/Virtual Instruments 31 2.6 Categorisation and Approach to Design of ICMSs 37 2.7 Timbre and Spectromorphology 41 2.8 Topic Theory 44 2.9 Breaking of Routine in Collaborative, Improvisatory Performance and Aiding Composition through the Development of New Musical Ideas 48 3. Methodology and Implementation 50 3.1 The 11 Criteria for Collaborative Musical Interface Design 53 3.2 Affordances 62 3.3 High Level Design Strategies and Gesture­types in the ScreenPlay GUI 65 3.4 ScreenPlay­GEN 67 3.5 ScreenPlay­TRNS4M/ScreenPlay­FX 70 3.5.1 Joy­Lament 72 3.5.2 Light­Dark 82 3.5.3 Open­Close 87 3.5.4 Stability­Destruction 90 4. Case Studies 93 1 4.1 Salford Sonic Fusion Festival 2014 93 4.2 8th MMU Postgraduate Research Conference "Innovation" 101 4.3 April 2016 Showcase of ScreenPlay 104 5. Conclusion 106 6. Reference List 110 7. Appendix 1: ScreenPlay Setup/Configuration Instructions 137 7.1 Software/Technical Requirements 137 7.2 Directions for Setup and Configuration 138 7.2.1 Single Mode 138 7.2.2 Multi Mode 140 8. Appendix 2: ScreenPlay GUI Instructions 142 9. Appendix 3: Patch Documentation 148 9.1 Notes on Max 148 9.2 ScreenPlay­CTRL 148 9.2.1 Main patcher/ScreenPlay­CTRL 1.0 149 9.2.2 [p transposition] 153 9.2.3 [p rec­ctrl] 155 9.2.4 [p clipmanager] 159 9.2.5 [p cliptrig] 159 9.2.6 [p getclipids] 159 9.2.7 [p clipcheck] 161 9.2.8 [p clipswitch] 164 9.2.9 [p newclip] 165 9.2.10 [p clipfire] 167 9.2.11 [p looplength] 168 9.2.12 [p clipclear] 170 9.2.13 [p quantizesettings] 171 9.2.14 [p metro­ctrl] 174 9.2.15 [p tempo­ctrl] 174 9.3 ScreenPlay­GEN 175 9.3.1 Main patcher/ScreenPlay­GEN 1.0 175 9.3.2 [p clipindex] 178 9.3.3 [p loopobserver] 179 2 9.3.4 [p markovanalysis] 183 9.3.5 [p pitchanalysis2nd] 185 9.3.6 [p velanalysis1st] 185 9.3.7 [p pair] (pitchanalysis2nd) 186 9.3.8 [p pair] (velanalysis1st) 187 9.3.9 [p notegen] 188 9.3.10 [p pitchgen2nd] 190 9.3.11 [p velgen1st] 193 9.3.12 [p deltagen1st] 193 9.3.13 [p pitch­sfgd] 195 9.3.14 [p genplay] 196 9.3.15 [p cliptrigpsicheck] 198 9.4 ScreenPlay­TRNS4M 199 9.4.1 Main patcher/ScreenPlay­TRNS4M 1.0 199 9.4.2 [p stab­des]/[p clo­spar]/[p lte­dk] 200 9.4.3 [p getnotes] 201 9.4.4 [p velocity.store] 203 9.4.5 [p velocity] 207 9.4.6 [p gate­ctrl] 208 9.4.7 [p duration.store] 209 9.4.8 [p duration] 211 9.4.9 [p trans.dur] 213 9.4.10 [p long­short] 214 9.4.11 [p */factor] 216 9.4.12 [p nextnote.calc] 216 9.4.13 [p mutenote.calc] 221 9.4.14 [p passnote.calc] 222 9.4.15 [p notecount] 222 9.4.16 [p passnote.dur] 223 9.4.17 [p passnote.on] 225 9.4.18 [p pitch.store] 227 9.4.19 [p pitch] 230 9.4.20 [p trans.pitch] 232 3 9.4.21 [p up­down] 236 9.4.22 [p range.sfgd] 238 9.4.23 [p scaleswitch] 240 9.4.24 [p trans­diatonic]/[p trans­chromatic] 241 9.4.25 [p +/­8ve.calc] 242 9.4.26 [p joy­lam.compile] 243 9.4.27 [p replacenotes] 247 10. Appendix 4: Example User­Feedback Questionnaire 249 11. Appendix 5: Accompanying Data CD 250 11.1 ScreenPlay Video Demonstration 250 11.2 ScreenPlay Max for Live MIDI Devices/Ableton Audio Effect Rack 250 11.3 ScreenPlay GUI TouchOSC Layout Files 251 11.4 Skeleton Ableton Live Set Files 251 4 List of Figures Figure 1. System overview diagram 52 Figure 2. ScreenPlay GUI main control page 56 Figure 3. Diagram of ScreenPlay 's grid­based playing surface 56 Figure 4. ScreenPlay GUI key selection matrix 57 Figure 5. ScreenPlay GUI generative/transformative algorithm control page 67 Figure 6. Markovian first order transition table for note duration 68 Figure 7. Markovian second order transition table for pitch 68 Figure 8. Original melodic line from which first/second order transition tables are derived 69 Figure 9. "Light" transformation effects chain 85 Figure 10. "Dark" transformation effects chain 87 Figure 11. "Open" transformation effects chain 90 Figure 12. "Close" transformation effects chain 90 Figure 13. "Destruction" transformation effects chain 91 Figure 14. ScreenPlay GUI main control page 142 Figure 15. ScreenPlay GUI key selection matrix 145 Figure 16. ScreenPlay GUI generative/transformative algorithm control page 145 Figure 17. ScreenPlay­CTRL Max for Live MIDI Device 148 Figure 18. [plugsync~] object in ScreenPlay­CTRL main patcher window 149 Figure 19. Core high­level programming in ScreenPlay­CTRL main patcher window 150 Figure 20. ScreenPlay­CTRL setup controls 151 Figure 21. ScreenPlay­CTRL setup controls 152 Figure 22. [p transposition] in ScreenPlay­CTRL 153 Figure 23. [p rec­ctrl] in ScreenPlay­CTRL 156 Figure 24. [p getclipids] in ScreenPlay­CTRL 160 Figure 25. [p clipcheck] in Scr eenPlay­CTRL 161 Figure 26. [p clipswitch] in Scr eenPlay­CTRL 164 Figure 27. [p newclip] in ScreenPlay­CTRL 166 Figure 28. [p clipfire] in ScreenPlay­CTRL 167 Figure 29. [p looplength] in ScreenPlay­CTRL 168 Figure 30. [p clipclear] in ScreenPlay­CTRL 170 Figure 31. [p quantizesettings] in ScreenPlay­CTRL 173 5 Figure 32. [p metro­ctrl] in ScreenPlay­CTRL 174 Figure 33. [p tempo­ctrl] in ScreenPlay­CTRL 175 Figure 34. ScreenPlay­GEN Max for Live MIDI Device 175 Figure 35. ScreenPlay­GEN main patcher window 176 Figure 36. [p clipindex] in ScreenPlay­GEN 178 Figure 37. [p loopobserver] in ScreenPlay­GEN 179 Figure 38. [p markovanalysis] in Scr eenPlay­GEN 183 Figure 39. [p pitchanalysis2nd] in ScreenPlay­GEN 185 Figure 40. [p pair] inside [p pitchanalysis2nd] in ScreenPlay­GEN 186 Figure 41. [p pair] inside [p velanalysis1st] in Scr eenPlay­GEN 187 Figure 42. [p notegen] in ScreenPlay­GEN 188 Figure 43. [p pitchgen2nd] in Scr eenPlay­GEN 190 Figure 44. [p deltagen1st] in ScreenPlay­GEN 194 Figure 45. [p pitch­sfgd] in ScreenPlay­GEN 195 Figure 46. [p genplay] in ScreenPlay­GEN 196 Figure 47. ScreenPlay­TRNS4M Max for Live MIDI Device 199 Figure 48. Core high­level programming in ScreenPlay­TRNS4M main patcher window 199 Figure 49. [p stab­des] in ScreenPlay­TRNS4M 200 Figure 50. [p getnotes] in ScreenPlay­TRNS4M 202 Figure 51. [p velocity.store] in ScreenPlay­TRNS4M 203 Figure 52. [p velocity] in ScreenPlay­TRNS4M 207 Figure 53. [p gate­ctrl] in Scr eenPlay­TRNS4M 208 Figure 54. [p duration.store] in Scr eenPlay­TRNS4M 209 Figure 55. [p duration] in ScreenPlay­TRNS4M 211 Figure 56. [p trans.dur] in ScreenPlay­TRNS4M 213 Figure 57. [p long­short] in ScreenPlay­TRNS4M 214 Figure 58. [p nextnote.calc] in Scr eenPlay­TRNS4M 217 Figure 59. [p notecount] in Scr eenPlay­TRNS4M 222 Figure 60. [p passnote.dur] in ScreenPlay­TRNS4M 224 Figure 61. [p passnote.on] in ScreenPlay­TRNS4M 225 Figure 62. [p pitch.store] in ScreenPlay­TRNS4M 228 Figure 63. [p pitch] in ScreenPlay­TRNS4M 230 Figure 64. [p trans.pitch] in ScreenPlay­TRNS4M 232 6 Figure 65. [p up­down] in ScreenPlay­TRNS4M 236 Figure 66. [p range.sfgd] and [p setrange] in ScreenPlay­TRNS4M 238 Figure 67. [p scaleswitch] in ScreenPlay­TRNS4M 240 Figure 68. [p +/­8ve.calc] in ScreenPlay­TRNS4M 242 Figure 69. [p joy­lam.compile] in ScreenPlay­TRNS4M 243 Figure 70. [p replacenotes] in Scr eenPlay­TRNS4M 247 7 Acknowledgements I would like to thank the University of Salford and Arts and Humanities Research Council for providing me with the opportunity, resources and funding to carry out my research. Special thanks go to Prof. Stephen Davismoon for the impeccable level of support and guidance with which he has provided me throughout the duration of the research project, as well as the multitude of opportunities beyond the scope of my research that he has opened up and made available to me. I would also like to thank Prof. Alan Williams and Mr. Brendan Williams for their vital input in helping to inform and shape my research at various stages in its development. 8 Declaration Large parts of the verbatim used in sections 2.3 Early and Experimental Interactive Works and Systems, 2.4 Web and Touchscreen­based Interactive Music Applications and Games, and 2.5 HCI in Popular Electronic Music Records/Releases and Music­Creation Applications/Virtual Instruments of the Literature Review have been published in Contemporary Music Review, 35 (2) in the article "Examining the Effects of Experimental/Academic Electroacoustic and Popular Electronic Musics on the Evolution and Development of Human–Computer Interaction in Music" (Meikle, 2016).