Tiempo real

Prácticas de Interpretación y Presentación [PIP]

 ]

En los primeros años de la música por computadora, este término fue usado para referirse a los sistemas de generación de sonido cuyo proceso computacional no era temporalmente más largo que la duración de lo que se estaba calculando. Recientemente, este término se está utilizando en muchas disciplinas para referirse a la percepción del resultado de un proceso digital como algo casi inmediato.

 

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

1-60 | 61-120 | 121-168 | >> 60 next

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
Allouis, Jean-François, Delalande, François (1976). Syter
Allouis, Jean-François, Delalande, François (1986). Syter et le temps réel
Appleton, Jon (1984). Live and In Concert: Composer/Performer Views of Real-Time Performance Systems
Appleton, Jon (1986). The Computer and Live Musical Performance
Ashline, William H. (2003). The Pariahs of Sound: On the Post-Duchampian Aesthetics of Electro-acoustic Improv
Austin, Larry (1991). Live-electronic Music on the Third Coast
Bailey, Nick, Cooper, David (2000). Perceptually Smooth Timbral Guides by State-Space Analysis of Phase-Vocoder Parameters
Barbosa, Álvaro (2003). Displaced Soundscapes: A Survey of Network Systems for Music and Sonic Art Creation
Battier, Marc (1995b). Entre l’idée et l’œuvre: parcours de l’informatique musicale
Battier, Marc (2002b). L’opéra et les technologies du son artificiel
Battier, Marc (2003c). Science et technologie comme sources d’inspiration
Bayle, François, Chion, Michel, Vande Gorne, Annette (1994). Le caprice et la cohérence
Bayle, François, Ernoult, Franck (2002). François Bayle, dans son studio Magison
Bello, Angelo (2001). Notes on Composing with the UPIC System: The Equipment of Iannis Xenakis
Bonardi, Alain (2003). Geste lyrique versus geste interactif. Exemple de l’opéra interactif {Alma Sola}
Bossis, Bruno (2003a). Introduction à l’histoire et à l’esthétique des musiques électroacoustiques
Bossis, Bruno (2005d). L’intervocalité ou les avatars de la voix dans le matériau sonore
Cadoz, Claude (1988). Instrumental Gesture and Musical Composition
Casserley, Lawrence (2001). Plus ça change: Journeys, Instruments and Networks, 1966-2000
Cerena, Carlos (2000). Gesture Control of Musical Processes: A MAX environment for Buchla’s ‘Lightning’
Chadabe, Joel (1983). Interactive Composing: An Overview
Chadabe, Joel (1984). Interactive Composing: An Overview
Chadabe, Joel (2000a). Devices I have Known and Loved
Chion, Michel, Le Mézo, Ermeline (2005). Interview
Clarke, Michael (1999b). Revisiting {Kontakte}: Issues of History, Performance and Intuition
Clozier, Christian (2001). The Gmebaphone Concept and the Cybernéphone Instrument
Collins, Nick (2003a). Generative Music and Laptop Performance
Collins, Nick, McLean, Alex, Rohrhuber, Julian, Ward, Adrian (2003c). Live Coding in Laptop Performance
Dack, John (1999b). The Creative Power of the Machine
Davis, Deta S. (1988). Computer Applications in Music: A Bibliography
Depalle, Philippe, Tassart, Stéphan, Wanderley, Marcello M. (1997). Instruments virtuels
Després, Alain (1988). L’UPIC en temps réel
Di Scipio, Agostino (1996). Interactive Composing with Granular Time-shifting of Sound
Dodge, Charles, Jerse, Thomas A. (1985). Computer Music Synthesis, Composition, and Performance
Emmerson, Simon (1994b). ’Live’ versus ’Real-time’
Fells, Nick (1999). {Kendhang}, {Or} and {Vug}: Three works for performer and live computer system
Flety, Emmanuel, Serra, Marie-Hélène (1998). Utilisation récentes de capteurs gestuels en création musicale à l’IRCAM
Franco, Enrique, Griffith, Niall J. L., Fernström, Mikael (2004). Issues for Designing a flexible expressive audiovisual system for real-time performance & composition
Gerzso, Andrew (1992a). De nouveaux environnements musicaux
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
Gurevich, Michael (2006). JamSpace: Designing a Collaborative Networked Music Space for Novices
Haller, Hans-Peter (1987). De la transformation des sons
Heinrich, Marie-Noëlle (2003). Création musicale et technologies nouvelles
HINOJOSA CHAPEL, Rubén (2003). Realtime Algorithmic Music Systems From Fractals and Chaotic Functions: Toward an Active Musical Instrument
Hoffman, Peter (2001). Analysis through Resynthesis. {Gendy3} by Iannis Xenakis
Hunt, Andy, Kirk, Ross (2000). Mapping Strategies for Musical Performance
Hunt, Andy, Kirk, Ross, Orton, Richard, Merrison, Benji (1998). A Generic Model for Compositional Approaches to Audiovisual Media
Höller, York (1988). La situation présente de la musique électronique
Impett, Jonathan (1996). Projection and Interactivity of Musical Structures in {Mirror-Rite}
Jaffe, David A., Schloss, W. Andrew (1994). The Computer Extended Ensemble
Jordà, Sergi (1999). Faust Music On Line: (FMOL) An Approach to Real-Time Collective Composition on the Internet
Jordà, Sergi (2002b). Improvising With Computers: A Personal Survey (1989-2001)
Karpen, Richard (2003). An Interview with James Dashow
Kientzy, Daniel, Baudoux, Roald (2000). Interview Daniel Kientzy (1/2)
Kientzy, Daniel, Baudoux, Roald (2000). Interview Daniel Kientzy (2/2)
Koblyakov, Lev (1992). Score/Music Orientation: An Interview with Robert Rowe
Laubier, Serge de (2000). The Meta-Instrument. How the project started
Lippe, Cort (1994). Real-time Granular Sampling Using the IRCAM Signal Processing Workstation

 

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