The aesthetics of interactive music systems

Rowe, Robert

doi:10.1080/07494469900640361

Cited by 33 publications

(32 citation statements)

References 2 publications

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“…In this case, the human-machine relation is not necessarily based on subordination, but rather on a nonhierarchical exchange between two entities with their own aesthetics (Rowe 1999;Garnett 2001;Bowers 2002;Sanfilippo and Valle 2012a). These features had already emerged in some of the very first computational interactive systems from the beginning of the 1970s-Joel Chadabe's CEMS and Salvatore Martirano's SalMar Construction.…”

Section: Human-machine Interaction: Absent/presentmentioning

confidence: 99%

Feedback Systems: An Analytical Framework

Sanfilippo

Valle

2013

Computer Music Journal

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Abstract:The use of feedback-based systems in the music domain dates back to the 1960s. Their applications span from music composition and sound organization to audio synthesis and processing, as the interest in feedback resulted both from theoretical reflection on cybernetics and system theory, and from practical experimentation on analog circuits. The advent of computers has made possible the implementation of complex theoretical systems in audio-domain oriented applications, in some sense bridging the gap between theory and practice in the analog domain, and further increasing the range of audio and musical applications of feedback systems.In this article we first sketch a minimal history of feedback in music; second, we briefly introduce feedback systems from a theoretical point of view; then we propose a set of features that characterize them from the perspective of music applications; finally, we propose a typology targeted at feedback systems used in the audio/musical domain and discuss some relevant examples.

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Section: Human-machine Interaction: Absent/presentmentioning

confidence: 99%

Feedback Systems: An Analytical Framework

Sanfilippo

Valle

2013

Computer Music Journal

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“…Following the philosophy that the piece should be based on the human element of the performance, it also implies that, even though the composition still has an electronic part, the electronics should contain that human element in every way possible. This, for one, is best done by using the real-time recording of the performers at the time of the performance, hence the usage of live input as a feedback source material, making it transformative (Rowe, 1993).…”

Section: Characteristicsmentioning

confidence: 99%

“…An early example that produces answers to musical gestures is a system called Cypher (Rowe, 1993). Cypher analyses input streams in the form of MIDI data to generate musical material.…”

Section: On Timbre Music Interaction and Extended Instrumentsmentioning

confidence: 99%

“…In that sense, the performer can intuitively play the instrument and the system will process his actions and translate them into new sound or musical expressions that will combine and complement acoustically the original sound of the instrument. Rowe (1993) defined a classification scheme for live electronics, which became a common evaluation method used throughout the literature. It is a scale on three dimensions distinguishing:…”

Section: On Timbre Music Interaction and Extended Instrumentsmentioning

confidence: 99%

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Interactive feedback on extended instruments

2012

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This project aims at exploring interactivity in networked music by exploiting innovative mapping schemes to extend common musical instruments into acoustic controllers of digital sound. The sensors used were limited to only piezo element contact microphones, as they demonstrate a simple and cheap solution to retrieve an acoustic signal free of most environmental noise and crosstalk. The main idea was to employ the feedback that results from processing a particular system as a control signal, in a way that allows interaction with different musical systems by means of network communication.Another goal was to preserve the traditional techniques in which casual musicians play their instruments, so as to minimize the learning process that the creation of new interfaces require, and maximize the usability of the instruments' extensions. The extension itself is both reactive and transformative. We chose to extend the guitar and a djembe, as an example of a common ensemble of music in casual social contexts.

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“…A straightforward user-interface provides sliders and other controls for the specification of fitness parameters and other musical attributes. There has been increasing interest in the last decade for systems that compose interactively in real-time, as if the computer were acting as a fellow musician in a jam session (Rowe, 1993). A number of the GA-based systems referred to earlier allow for interactive use in real-time, whereby the user can, through various means, control GA operators and fitness values while the system is running.…”

mentioning

confidence: 99%

At the Crossroads of Evolutionary Computation and Music: Self-Programming Synthesizers, Swarm Orchestras and the Origins of Melody

Miranda

2004

Evolutionary Computation

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This paper introduces three approaches to using Evolutionary Computation (EC) in Music (namely, engineering, creative and musicological approaches) and discusses examples of representative systems that have been developed within the last decade, with emphasis on more recent and innovative works. We begin by reviewing engineering applications of EC in Music Technology such as Genetic Algorithms and Cellular Automata sound synthesis, followed by an introduction to applications where EC has been used to generate musical compositions. Next, we introduce ongoing research into EC models to study the origins of music and detail our own research work on modelling the evolution of melody.

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The aesthetics of interactive music systems

Cited by 33 publications

References 2 publications

Feedback Systems: An Analytical Framework

Feedback Systems: An Analytical Framework

Interactive feedback on extended instruments

At the Crossroads of Evolutionary Computation and Music: Self-Programming Synthesizers, Swarm Orchestras and the Origins of Melody

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