Real-time event sequencing without a visual interface

In this paper we describe an approach for generating and visualising new rhythmic patterns from existing audio in real-time using concatenative synthesis. We introduce a graph-based model enabling novel visualisation and manipulation of new patterns that mimics the rhythmic and tim-bral character of an existing target seed pattern using a separate database of palette sounds. Our approach is described , reporting on those features that may be useful in describing units of sound related to rhythm and how they might then be projected into two-dimensional space for vi-sualisation using reduction techniques and clustering. We conclude the paper with our qualitative appraisal of using the interface and outline scope for future work.

This software library allows a dancer to control the tempo of an electronically-generated music score, and/or to generate musical rhythmic structures from bodily movement in real time in interactive dance performance. The movement data is gathered non-invasively, using a fixed video camera placed outside the area in which the dancer is moving. This library is implemented as a set of external objects, called the m-objects, for the modular programming environment Max/MSP [1] using an external object or library that performs framedifferencing analysis of a video stream in real time. This library should also be easily ported to other visual programming environments that perform video analysis in real time such as Isadora [2] or EyesWeb [3]. During the performance of a piece utilizing this software, the musician can give or take away the control over rhythm generation and/or musical tempo from the dancer, and substantially alter the musical content of a piece during performance. In this paper I describe each object comprising the library. In the demonstration session I will show the basic connections that have to be performed among the objects in order to generate musical rhythm and to control musical tempo from dance movement.

In this review, it is explained and compared different software and formalisms used in music interaction: sequencers, computer-assisted improvisation, meta-instruments, score-following, asynchronous dataflow languages, synchronous dataflow languages, process calculi, temporal constraints and interactive scores. Formal approaches have the advantage of providing rigorous semantics of the behavior of the model and proving correctness during execution. The main disadvantage of formal approaches is lack of commercial tools.

This paper describes an algorithmic drum performance device for musical expression. The idea is to provide maximum variation and dynamics with minimal input. An algorithm programmed into a PIC micro-controller acts as the 'brains' of the device taking data from inputs and forming an equation with the variables, outputting the result to an audio drum chip. The drum chip was derived from a basic musical toy, which was chosen for its low cost, loaded sample set and easy implementation. A deciding factor in choosing the components and configuration was to reduce the overall size of the device so as to make usage possible in either a larger live performance setting, or whilst sitting in a smaller area (e.g bus) for personal entertainment.

2006

We present an overview of developments towards interactive musical systems. A description of an interactive system is given and we consider potential uses for the automation of creative processes within live performance. We then look at the history of research into the problem of automatic accompaniment, discuss a variety of current interactive systems and present some ideas for future research.

Proceedings of the 14th annual ACM international conference on Multimedia - MULTIMEDIA '06, 2006

We present Hyperscore, a system for interactive execution of musical performances coupled with the generation system Clipscore, in which a performer can virtually manipulate execution parameters through gestural interaction in real time. Hyperscore allows users to exploit their perceptive capabilities in terms of space and time in order to control and manipulate, via a multimodal interaction, the main component of music, namely time.

Watermark, 2012

Electronic music, even when designed to be interactive, can lack performance interest and is frequently musically unsophisticated. This is unfortunate because there are many aspects of electronic music that can be interesting, elegant, demonstrative and musically informative. The use of dancers to interact with prototypical interfaces comprising clusters of sensors generating music algorithmically provides a method of investigating human actions in this environment. This is achieved through collaborative work involving software and hardware designers, composers, sculptors and choreographers who examine aesthetically and practically the interstices of these disciplines. The proposed paper investigates these interstices.

Proceedings of the 7th international conference on New interfaces for musical expression - NIME '07, 2007

Augmenting performances of live popular music with computer systems poses many new challenges. Here, "popular music" is taken to mean music with a mostly steady tempo, some improvisational elements, and largely predetermined melodies, harmonies, and other parts. The overall problem is studied by developing a framework consisting of constraints and subproblems that any solution should address. These problems include beat acquisition, beat phase, score location, sound synthesis, data preparation, and adaptation. A prototype system is described that offers a set of solutions to the problems posed by the framework, and future work is suggested.

Computer Music Journal, 2006

Experimental research in music performance is now an established field with a number of interesting advances relating to the understanding of the musical communication between performer and listener . Research in this field includes the communication of structure , emotional expression (Juslin 2001), and musicians' body gestures . From this research, it is evident that the performer has an important and essential role "giving life" to a composition by introducing gestural qualities, enhancing the musical structure, and providing a personal interpretation reflecting an expressive intention. For example, studies of emotional expression have shown that the same piece can communicate completely different emotions by changing the performance.