Virtual acoustic reproduction of historical spaces for interactive music performance and recording

2004 ◽  
Vol 116 (4) ◽  
pp. 2484-2485
Author(s):  
William Martens ◽  
Wieslaw Woszczyk
Keyword(s):  
Music Performance ◽  
Interactive Music

A Multimodal System for Gesture Recognition in Interactive Music Performance

2009 ◽  
Vol 33 (4) ◽  
pp. 69-82 ◽  
Author(s):  
Dan Overholt ◽  
John Thompson ◽  
Lance Putnam ◽  
Bo Bell ◽  
Jim Kleban ◽  
...  
Keyword(s):  
Gesture Recognition ◽  
Music Performance ◽  
Interactive Music ◽  
Multimodal System

Representing groove: Rhythmic structure in interactive music performance

1997 ◽  
Vol 102 (5) ◽  
pp. 3182-3182
Author(s):  
Vijay Iyer ◽  
Jeff Bilmes ◽  
Matt Wright ◽  
David Wessel
Keyword(s):  
Music Performance ◽  
Rhythmic Structure ◽  
Interactive Music

Interactivity for Mobile Music-Making

2009 ◽  
Vol 14 (2) ◽  
pp. 197-207 ◽  
Author(s):  
Georg Essl ◽  
Michael Rohs
Keyword(s):  
Theoretical Analysis ◽  
Mobile Phones ◽  
Design Space ◽  
Music Performance ◽  
Live Performance ◽  
Interactive Music ◽  
Interactive Performance ◽  
Music Making ◽  
Mobile Music

Mobile phones offer an attractive platform for interactive music performance. We provide a theoretical analysis of the sensor capabilities via a design space and show concrete examples of how different sensors can facilitate interactive performance on these devices. These sensors include cameras, microphones, accelerometers, magnetometers and multitouch screens. The interactivity through sensors in turn informs aspects of live performance as well as composition though persistence, scoring, and mapping to musical notes or abstract sounds.

scholarly journals Brain-Computer Music Interface for Music Expression

2020 ◽  
pp. 86-88
Author(s):  
Rafael Ramirez ◽  
Sergio Giraldo ◽  
Zacharias Vamvakousis
Keyword(s):  
Real Time ◽  
Emotional State ◽  
Music Performance ◽  
Computer Interface ◽  
Music Listening ◽  
Time System ◽  
Real Time System ◽  
Interactive Music ◽  
Eeg Data ◽  
Performance System

Active music listening is a way of listening to music through active interactions. In this paper we present an expressive brain-computer interactive music system for active music listening, which allows listeners to manipulate expressive parameters in music performances using their emotional state, as detected by a brain-computer interface. The proposed system is divided in two parts: a real-time system able to detect listeners’ emotional state from their EEG data, and a real-time expressive music performance system capable of adapting the expressive parameters of music based on the detected listeners’ emotion. We comment on an application of our system as a music neurofeedback system to alleviate depression in elderly people.

The Serial Collaborator: A Meta-Pianist for Real-Time Tonal and Non-Tonal Music Generation

Leonardo ◽  
2014 ◽  
Vol 47 (3) ◽  
pp. 260-261
Author(s):  
Roger T. Dean
Keyword(s):  
Real Time ◽  
Music Performance ◽  
Tonal Music ◽  
Interactive Music ◽  
Sequence Generation ◽  
Serial Music ◽  
Keyboard Music ◽  
Music Generation ◽  
Sequence Transformations

Serial music, which is mainly non-tonal, superimposes compositional freedom onto an unusually rigorous process of pitch-sequence transformations based on ‘tone rows’: a row is usually a sequence of notes using each of the 12 chromatic pitches once. Compositional freedom comprises forming chords from the sequences, and in multi-strand music, also in simultaneously presenting different segments of pitch-sequences. The present project coded a real-time serial music composer for automatic or interactive music performance. This Serial Keyboardist Collaborator can perform keyboard music which is impossible for a human to realize. Surprisingly, it was also useful in making more tonal music based on the same rigorous pitch-sequence generation.

Creative process and performance practice of interactive computer music: a performer's tale

2003 ◽  
Vol 8 (3) ◽  
pp. 289-296 ◽  
Author(s):  
MARI KIMURA
Keyword(s):  
Performance Practice ◽  
Creative Process ◽  
Computer Music ◽  
Music Performance ◽  
Interactive Systems ◽  
Room Acoustics ◽  
Interactive Music ◽  
Major Interest ◽  
And Performance ◽  
Musical Context

I have had a major interest in the performance practice issues in electronic and interactive systems over the years (see, for example, Kimura 1996). As a performer/composer often presenting pieces from the classical and other contemporary acoustic violin literature in traditional settings along with electronic works, and also as a teacher of interactive computer music performance at a conservatory where my students include highly trained performers, performance practice issues in computer music come up very frequently in association with the creative process. I tend to focus on creating MaxMSP patches that address a particular musical context or situation, rather than creating an elaborate versatile and reusable MaxMSP patch and then using that patch in a particular way to make music. This paper describes a few examples of my interest in this area: (i) System Aspects: Performance Practice Issues and Room Acoustics; (ii) ‘Pragmatic’ Programming and Performance of Interactive Music; and (iii) Creative Process and Interactive Computer Music.

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