Interacting with Generative Music through Live Coding

Brown, Andrew R.; Sorensen, Andrew

doi:10.1080/07494460802663991

Cited by 37 publications

(27 citation statements)

References 10 publications

(6 reference statements)

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“…Many prominent live coders have created their own novel languages, many of which have interesting implementation and functional features, such as Sorensen's Scheme-based language Impromptu [4], more recently extended as Extempore.…”

Section: Related Researchmentioning

confidence: 99%

“…Miller Puckette, working at IRCAM, created a dataflow or "patcher"-style digital synthesis environment [14] that has evolved into PureData (Pd) 4 developed by Puckette, and Max/MSP 5 (named in honour of Max Matthews), a visual programming language for music that is now developed and maintained on a commercial basis by Cycling '74. SuperCollider 6 is a popular tool for real time audio synthesis and algorithmic composition [18] that also offers an execution model based on composition of "unit generators".…”

Section: Related Researchmentioning

confidence: 99%

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From sonic Pi to overtone

Aaron

Blackwell

2013

Proceedings of the First ACM SIGPLAN Workshop on Functional Art, Music, Modeling &Amp; Design

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Domain Specific and Functional languages provide an excellent linguistic context for exploring new forms of music notation -not just for formalising compositions but also for live interaction workflows. This experience report describes two novel live coding systems that employ code execution to modify live sounds and music. The first of these systems, Sonic Pi, aims at teaching core computing notions to school students using live-coded music as a means of stimulating and maintaining student engagement. We describe how an emphasis on a functional style improves the ease in which core computer science concepts can be communicated to students. Secondly we describe Overtone, a functional language and live coding environment aimed towards professional electronic musicians. We describe how Overtone's abstractions and architecture strongly benefit from a functional-oriented implementation. Both Sonic Pi and Overtone are freely available open-source platforms.

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Section: Related Researchmentioning

confidence: 99%

Section: Related Researchmentioning

confidence: 99%

From sonic Pi to overtone

Aaron

Blackwell

2013

Proceedings of the First ACM SIGPLAN Workshop on Functional Art, Music, Modeling &Amp; Design

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“…Rohrhuber's JITLib (Collins et al 2003) and Sorensen's Impromptu (Brown and Sorensen 2009) both take a similar approach: They enable clients to share and manipulate dynamic objects or variables over a network. Recent versions of Impromptu utilize tuple space to implement this type of synchronized sharing more robustly (Sorensen 2010), whereas JITLib uses proxy structures as placeholders for dynamically created and shared material (Rohrhuber, de Campo, and Wieser 2005).…”

Section: Existing Models For Collaborative Text-based Performancementioning

confidence: 96%

Collaborative Textual Improvisation in a Laptop Ensemble

Freeman

Troyer

2011

Computer Music Journal

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For us, text-based performance interfaces, such as those used in live coding systems (Collins et al. 2003), are a fascinating fusion of composition and improvisation. Textual performance interfaces can offer a precise and concise means to define, manipulate, and transform motives, gestures, and processes in real time and at multiple hierarchical layers. They can also render musical thinking visible to the audience by projecting the text as it is written.We are particularly interested in textual performance interfaces in laptop ensemble contexts. We believe that the dynamics of ensemble performance can lead laptop musicians in new creative directions, pushing them towards more real-time creativity and combining the diverse skills, ideas, and schemas of the ensemble's members to create unexpected, novel music in performance. But when laptop performance interfaces move beyond simple one-to-one mappings, they present unique ensemble challenges, particularly in terms of the synchronization and sharing of musical material. Specialized improvisation environments for specific performances (e.g., Trueman 2008) or ensembles (e.g., Rebelo and Renaud 2006) can help groups to negotiate these challenges and structure their collaboration: The tools can create powerful new channels of networked communication among ensemble members to supplement aural and visual interaction. Textual performance environments are uniquely positioned in this regard: They potentially offer greater efficiency and flexibility in performance, and because text is already a dominant networked communication medium, they can draw from an abundance of interaction models in areas such as instant messaging, collaborative document editing, and the real-time Web.Although many text-based performance environments do support collaboration, most current systems are challenging to use with ensembles of more than a few musicians. As a result, we created a new textual performance environment for laptop ensemble named LOLC. (LOLC was initially an acronym for Laptop Orchestra Live Coding, though we now consider the applicability of the term "live coding" to be debatable.) From its inception, we designed LOLC to focus on ensemble-based collaboration. Though inspired by live coding systems, LOLC is not itself a programming language: It is neither Turing-complete nor does it allow its users to define new computational processes. Instead, its design, in which musicians create rhythmic patterns based on sound files and share and transform those patterns over a local network, facilitates an interaction paradigm inspired by other forms of ensemble improvisation, particularly in jazz and avant-garde music.In this article, we discuss the related work upon which LOLC builds; we outline the main goals of the LOLC environment; we describe the environment's design, its technical implementation, and the motivations behind some of our key decisions; and we evaluate its success through discussion of a recent performance. Related WorkThe design and implementation of LOLC was influenced b...

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“…This feature allows the boundaries of the random pitches as well as the duration of the sound played to be manipulated in real time through "musical live coding" [2,13,14] without disrupting the sounds being generated. That is, the resultant melody can be changed in real time by adjusting the upper and lower bounds of the random function and changing the duration value for the beat without stopping program execution.…”

Section: Figure 3 Code For a Random Melody By Boundary Constraintsmentioning

confidence: 99%

Teaching computational thinking through musical live coding in scratch

Ruthmann

Heines

Greher

et al. 2010

Proceedings of the 41st ACM Technical Symposium on Computer Science Education

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This paper discusses our ongoing experiences in developing an interdisciplinary general education course called Sound Thinking that is offered jointly by our Dept. of Computer Science and Dept. of Music. It focuses on the student outcomes we are trying to achieve and the projects we are using to help students realize those outcomes. It explains why we are moving from a web-based environment using HTML and JavaScript to Scratch and discusses the potential for Scratch's "musical live coding" capability to reinforce those concepts even more strongly.

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Interacting with Generative Music through Live Coding

Cited by 37 publications

References 10 publications

From sonic Pi to overtone

From sonic Pi to overtone

Collaborative Textual Improvisation in a Laptop Ensemble

Teaching computational thinking through musical live coding in scratch

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