Interactividad

Géneros y Categorías [GyC]

 ]

La interactividad se refiere, en un sentido amplio, a la interacción musical hombre-máquina, a la interacción musical hombre-hombre mediada por una computadora, o también a una serie de computadoras en red que estén interactuando entre ellas. Frecuentemente, una composición, interpretación o improvisación interactiva implicará la creación o programación de software que responda a aspectos predeterminados de una ejecución en vivo. El software determinará entonces otros aspectos de la música, ya sea generando sonido sintético, o modificando de alguna forma al sonido "en vivo", total o parcialmente.

El comportamiento de la computadora puede ser en gran parte determinado o indeterminado, según haya sido definido por los músicos, y puede ser modificado de ejecución a ejecución. El rol exacto de la computadora puede incluso ser modificado en tiempo real durante el transcurso de una interpretación.

La creación musical interactiva introduce y frecuentemente utiliza las nociones de instrumento virtual, intérprete virtual, compositor virtual, e incluso, la de oyente virtual.

La creación musical interactiva usualmente desdibuja las distinciones convencionales entre la actividad del compositor y la del improvisador. Puntos claves en la creación musical interactiva son: la socialización, la autoría colectiva, la sincronicidad/asincronicidad temporal y geográfica, y la "actividad distribuida".

 

See also

Emersión o Surgimiento (Emergence)

,

Ambientes Inmersivos

,

Instrumentos Interactivos

,

Internet Music ([La] Música en Internet)

,

Electrónica en Vivo (Música Electrónica en Vivo)

,

Multimedia/Intermedia

 

Links

UNESCO DigiArts

- Introduction à l’histoire et à l’esthétique des musiques électroacoustiques: Session 6 - De la musique mixte à l’interactivité ( French )

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

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Aharonian, Coriun, Appleton, Jon, Beyls, Peter, Boeswillwald, Pierre, Buxton, Bill, Chiarucci, Henri, Clozier, Christian, Ferreyra, Beatriz, Goethals, Lucien, Hanson, Sten, Kotonski, Wlodzimierz , Küpper, Leo, Pignon, Paul, Menard, Philippe, Nilson, Leo, Rudnik, Eugeniusz, Savouret, Alain (1975). La musique électroacoustique en 5 thèmes
Anderson, Christine (2005). Dynamic Networks of Sonic Interactions: An Interview with Agostino Di Scipio
Auzet, Roland (2000). Gesture-following Devices for Percussionists
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Barrett, Natasha (2005). {Adsonore}
Barrett, Natasha, Hammer, Oyvind (1998). Mimetic Dynamics
Battier, Marc (1992). Sculpter la transparence. L’écriture, le geste, l’environnement
Battier, Marc (2003c). Science et technologie comme sources d’inspiration
Belet, Brian (2003). Live Performance Interaction for Humans and Machines in the Early Twenty-first Century: One composer’s aesthetics for composition and performance practice
Beyls, Peter (1991). Chaos and Creativity: The Dynamic Systems Approach to Musical Composition
Birchfield, David, Phillips, Kelly, Kidané, Assegid, Lorig, David (2006). Interactive Public Sound Art: A Case Study
Bischoff, John, Gold, Rich, Horton, Jim (1978). Music for an Interactive Network of Microcomputers
Blaine, Tina, Fels, Sidney (2003a). Collaborative Musical Experiences for Novices
Bonardi, Alain (2003). Geste lyrique versus geste interactif. Exemple de l’opéra interactif {Alma Sola}
Bonardi, Alain, Rousseaux, Francis (2004). Un exemple de médiation numérique opératique : l’opéra interactif sur CD-ROM {Virtualis}
Bossis, Bruno (2003a). Introduction à l’histoire et à l’esthétique des musiques électroacoustiques
Bowers, John (2003). Improvising Machines: Ethnographically Informed Design for Improvised Electro-acoustic Music
Bryan-Kinns, N., Healey, P. G. T. (2006). Decay in Collaborative Music Making
Brün, Herbert, Hamlin, Peter, Roads Curtis, (1995). Interview with Herbert Brün
Bukvic, Ivica Ico (2002). {RTMix} - Towards a standardised interactive electroacoustic art performance interface
Burt, Warren (1991). Experimental Music in Australia Using Live Electronics
Burtner, Matthew (2005). Ecoacoustic and Shamanic Technologies for Multimedia Composition and Performance
Cadoz, Claude (1988). Informatique et outil de création musicale
Camurri, Antonio, Trocca, Riccardo (2000). Movement and Gesture in Intelligent Interactive Music Systems
Cerena, Carlos (2000). Gesture Control of Musical Processes: A MAX environment for Buchla’s ‘Lightning’
Chabot, Xavier (1993). To Listen and To See: Making and Using Electronic Instruments
Chadabe, Joel (1983). Interactive Composing: An Overview
Chadabe, Joel (1984). Interactive Composing: An Overview
Chadabe, Joel (1999a). The Performer is Us
Chadabe, Joel (2000a). Devices I have Known and Loved
Chadabe, Joel (2004a). Electronic Music and Life
Chagas, Paulo (2006). The blindness paradigm: The visibility and invisibility of the body
Collins, Nick (2002a). Experiments with a New Customisable Interactive Evolution Framework
Cook, Perry (2001a). Principles for Designing Computer Music Controllers
Curran, Alvin (1994). {Music from the Centre of the Earth}: Three Large-Scale Sound Installations
Dahlstedt, Palle (2001). A MutaSynth in Parameter Space: Interactive composition through evolution
Dannenberg, Roger B. (2005). Interactive Visual Music: A Personal Perspective
Davis, Deta S. (1988). Computer Applications in Music: A Bibliography
De Ritis, Anthony (1999). {Cathedral}: An Interactive Work for the Web
Depalle, Philippe, Tassart, Stéphan, Wanderley, Marcello M. (1997). Instruments virtuels
Di Scipio, Agostino (2003). ‘Sound is the Interface’: From {interactive} to {ecosystemic} signal processing
Dixon, Martin (2006). Echo’s body: Play and representation in interactive music software
Dodge, Charles, Jerse, Thomas A. (1985). Computer Music Synthesis, Composition, and Performance
Driscoll, John, Rogalsky, Matt (2004). David Tudor’s {Rainforest}: An Evolving Exploration of Resonance
Duckworth, William (1999). Making Music on the Web
Dury, Rémi, Faber, Francis (2001). Musique électroacoustique, musique assistée par ordinateur et jeu instrumental: vers de nouveaux instruments pédagogiques
Essl, Georg (2003). On Gender in New Music Interface Technology
Fells, Nick (1999). {Kendhang}, {Or} and {Vug}: Three works for performer and live computer system
Fells, Nick (2002). On Space, Listening and Interaction: {Words on the Streets are These} and {Still Life}
Ferreira Lopes, Paulo, Sousa Dias, Antonio de (2005). Musique et intéraction: aboutissement, mutations te métaphores de l’instrument de musique numérique
Flety, Emmanuel, Serra, Marie-Hélène (1998). Utilisation récentes de capteurs gestuels en création musicale à l’IRCAM
Frisk, Henrik, Yoshida, Miya (2005). New Communications Technology in the Context of Interactive Sound Art: an empirical analysis
Föllmer, Golo (2005a). Lines of Net Music
Föllmer, Golo (2005b). Electronic, aesthetic and social factors in Net music
Garnett, Guy E. (2001). The Aesthetics of Interactive Computer Music
Gaye, Layla, Holmquist, Lars Erik, Behrendt, Frauke, Tanaka, Atau (2006). Mobile Music Technology: Report on Emerging Community
Gluck, Robert J. (2005b). {Sounds of a Community}: Cultural Identity and Interactive Art
Goebel, Johannes (1988). Man-Machine Interaction
Goto, Suguru (2000). Virtual Musical Instruments: Technological Aspects and Interactive Performance Issues
Gresham-Lancaster, Scot (1998). The Aesthetics and History of the Hub: The Effects of Changing Technology on Network Computer Music

 

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