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)

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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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Pressing, Jeff (1990). Cybernetic Issues in Interactive Performance Systems
Puckette, Miller, Settel, Zack (1993). Nonobvious Roles for Electronics In Performance Enhancement
Rebelo, Pablo (2003). Performing Space
Rebelo, Pedro, Renaud, Alain B. (2006). The Frequencyliator - Distributing Structures for Networked Laptop Improvisation
Reddell, Trace (2003). Laptopia: The Spatial Poetics of Networked Laptop Performance
Rémus, Jacques (2004). La sculpture sonore, pratique artistique en recherche de définition
Risset, Jean-Claude (1985c). Le compositeur et ses machines. De la recherche musicale
Risset, Jean-Claude (1999a). Composing in Real-time?
Risset, Jean-Claude (2000). Temps et musique numérique
Risset, Jean-Claude (2003). Computer Music: Why?
Roads, Curtis (1985b). Improvisation with George Lewis
Robson, Dominic (2002). PLAY: Sound Toys for Non-Musicians
Rowe, Robert (1993). Interactive Music Systems: Machine Listening and Composing
Rowe, Robert (1999). The Aesthetic of Interactive Music Systems
Rubine, Dean, McAvinney Paul, (1990). Programmable Finger-tracking Instrument Controllers
Rudi, Jøran (2003). {Norge - et Lydrike, Norway Remixed}: A sound installation
Ryan, Joel, Salter, Christopher (2003). TGarden: Wearable Instruments and Augmented Physicality
Saariaho, Kaija, Hoitenga, Camilla, Karttunen, Ansi, Barrière, Jean-Baptiste, Stoianova, Ivanka, Mathieu, Jean-Baptiste (1999). Prisma
SCHACHTER, Daniel (2007). Towards new models for the construction of interactive electroacoustic music discourse
Schedel, Margaret (2002). Anticipating Interactivity: Henry Cowell and the Rhythmicon
Schiemer, Greg (1994). Interactive Radio
Schloss, W. Andrew, Jaffe, David A. (1993). Intelligent Musical Instruments: The Future of Musical Performance or the Demise of the Performer?
Schrader, Barry (1991). Live/Electro-acoustic Music - a Perspective from History and California
Schütze, Stephan (2003). The Creation of an Audio Environment as Part of a Computer Game World: The design for {Jurassic Park - Operation Genesis} on the XBOX™ as a broad concept for surround installation creation
Siegel, Wayne (1999a). Two Compositions for Interactive Dance
Stockhausen, Karlheinz (1996). Electroacoustic Performance Practice
Stroppa, Marco (1999). Live Electronics or... Live Music? Towards a Critique of Interaction
Subotnik, Morton (1999). The Use of Computer Technology in an Interactive or ‘Real Time’ Performance Environment
SUPPER, Martin (1994). Trivial oder nichttrivial... (Trivial or not trivial ...)
Supper, Martin (1997). Elektroakustische Musik und Computermusik; Geschichte-Ästhetik-Methoden-Systeme (Electroacoustic Music and Computer Music: History, Aesthetics, Methods, Systems)
Szendy, Peter (1998). Temps réel
Tanaka, Atau (2000). Musical Performance Practice on Sensor-based Instruments
Tanaka, Atau, Gemeinboeck, Petra (2006). A Framework for Spatial Interaction in Locative Media
Tanzi, Dante (2005). Language, Music and Resonance in Cyberspace
Tarabella, Leonello (2004). Improvising Computer Music: An Approach
Teitelbaum, Richard (2006). Improvisation, Computers and the Unconscious Mind
Teruggi, Daniel (1999). L’interactivité dans les processus de création sonore et musicale
Thorington, Helen (2005). Breaking Out: The Trip Back
Traub, Peter (2005). Sounding the Net: Recent Sonic Works for the Internet and Computer Networks
Truax, Barry (1980a). The Inverse Relation Between Generality and Strength in Computer Music Programs
Ulyate, Ryan, Bianciardi, David (2002). The Interactive Dance Club: Avoiding Chaos in a Multi-Participant Environment
Vande Gorne, Annette (1995). Une histoire de la musique électroacoustique
Veitl, Anne (2004). Le compositeur à l’ordinateur (1955-1985) : des moyens de rationalisation aux outils de réalisation
Vickery, Lindsay (2001). The Western Edge: Some recent electronic music from Western Australia
Waisvisz, Michel (1999). Riding the Sphinx - Lines about ’Live’
Wanderley, Marcelo, Orio, Nicola (2002). Evaluation of Input Devices for Musical Expression: Borrowing Tools from HCI
Warde, Ann (1999). Change Over Time: Responsibility and Power in the Midst of Catastrophe
Waters, Simon (2000a). The musical process in the age of digital intervention
Weinberg, Gil (2002b). The Aesthetics, History, and Future Challenges of Interconnected Music Networks
Weinberg, Gil (2005a). Interconnected Musical Networks: Toward a Theoretical Framework
Weinberg, Gil (2005b). Voice Networks: The Human Voice as a Creative Medium for Musical Collaboration
Whalley, Ian (2004). PIWeCS: Enhancing human/machine agency in an interactive composition system
Wilson, Julie A., Bromwich, Mark A. (2000). {Lifting Bodies}: Interactive dance - finding new methodologies in the motifs prompted by new technology - a critique and progress report with particular reference to the Bodycoder System
Wilson-Bokowiec, Julie, Bokowiec, Mark Alexander (2006). Kinaesonics: The intertwining relationship of body and sound
Woolf, Sam, Yee-King, Matthew (2003). Virtual and Physical Interfaces for Collaborative Evolution of Sound
Young, John P. (2001). Networked Music: Bridging real and virtual space

 

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