1,721,234 research outputs found
Envisaging improvisation in future computer music
No full textThis chapter offers a fairly speculative consideration of opportunities in sonic improvisation using computers, since the field is moving rapidly. In this introduction, I summarise some core features and perennial issues involved in improvisation
Introduction : the many futures of computer music
No full textIn this brief introduction, I give some perspectives on the scope and futures of computer music, indicating how the topics are addressed within the book. Computer music has passed its 50th anniversary and is part of a slightly longer tradition of electroacoustic music. This book provides a broad introduction to the whole electroacoustic field and its history, but its explicit emphasis is on computer music in the period since the 1980s during which the Yamaha DX7 synthesizer and the availability of desktop (and later laptop) computers at prices individuals could afford meant that the practice of computer music was no longer restricted to those who could access a mainframe computer
Musical Algorithms as Tools, Languages and Partners: a perspective
No full textIn this chapter we introduce the landscape of algorithmic music, and point to some of its burning issues and future possibilities. We also use the chapter to provide some guidance as to how we have organised the [oxford handbook of algorithmic music], and where major topics are discussed: we summarise the structure in the next paragraph, and comments on individual articles in the book are made throughout this Chapter
Empirical studies of computer sound
No full textIn this chapter, we discuss computer-generated sound as the object of empirical study, particularly in perceptual, cognitive, and computational research. The purpose of such study begins with the musicological, taken broadly as understanding the structure of music and its impact on listeners, as well as the creative and performative roles of those who realise the music. It continues with the use of computer-generated sound as material for studies on sonic cognition and temporal perception more broadly. One of the advantages of computer sound is its susceptibility to minute control, in the way that scientific empiricists favour, an opportunity largely lacking in cognitive experiments with culturally constrained sonic structures such as those of Western tonal music, the subject of by far the greatest research attention to date
Algorithmic Trajectories
No full textWe jointly designed and edited this volume [Oxford Handbook of Algorithmic Music] because of our complementary, overlapping yet highly contrasting backgrounds (we have performed together and met first in the context of music research). The contrast between us stems both from our differing time frames of involvement, and from the fact that AM makes music primarily (usually solely) via a computer and in real-time whereas RTD is an acoustic instrumentalist (particularly keyboards, often with computers), and a composer (offline) as well as improviser (real-time). While AM was using computers from an early age, and began serious programming around 1986 (aged 11), RTD first used a (desktop) computer in around 1982 (already aged more than 30).
So in this final Perspective on Practice, we will discuss our own experiences and the development of our current enthusiasms. We hope that brief consideration of these trajectories will have some interest for readers seeking to engage with the breadth of our field of algorithmic music. We drafted our own sections, and then jointly edited the chapter, providing a brief conclusion; we also took advantage of helpful suggestions from external reviewers. See Note 1 to this chapter for information on cd and other sources of the music mentioned in the two authors’ sections that follow
Algorithmic synesthesia
No full textWe often think about our sense as separate and independent of each other. However, there are at least four problems with this naive view. First, our experience of the world around us is a rich multisensory one. Second, our sensations do seem to come together somehow into a unified experience. A third problem is that the senses do not merely converge somewhere; they also influence each other. The fourth reason to doubt the independence of the senses is that, for some individuals, stimulation in one sensory modality may actually give rise to perceptual experience in more than one modality. This remarkable form of perception is labelled synesthesia, and we distinguish here, before drawing some parallels between the two, between the involuntary psychological phenomenon and synsthesia in art involving intentional intermedia experimentation
Integrating Creative Practice and Research in the Digital Media Arts
No full textResearch is often characterised as the search for new ideas and understanding. The language of this view privileges the cognitive and intellectual aspects of discovery. However, in the research process theoretical claims are usually evaluated in practice and, indeed, the observations and experiences of practical circumstances often lead to new research questions. This feedback loop between speculation and experimentation is fundamental to research in many disciplines, and is also appropriate for research in the creative arts. In this chapter we will examine how our creative desire for artistic expressivity results in interplay between actions and ideas that direct the development of techniques and approaches for our audio/visual live-coding activities
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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