Disciplines of Study [DoS]  >  Interdisciplinary Studies  ]

Interactivity refers broadly to human-computer musical interaction, or human-human musical interaction that is mediated through a computer, or possibly a series of networked computers that are also interacting with each other. Often, an interactive performance, composition or improvisation will involve the creation or programming of software that will respond to pre-determined aspects of a live performance. The software will then determine other aspects of the music, either generating synthesised sound, or modifying in some way all or some of the ’live’ sound.

The behaviour of the computer may be highly determined or indeterminate as defined by the musicians, and may be modified from performance to performance. The exact musical role of the computer may even be modified in real-time during the course of a performance.

Interactive music-making introduces and often utilises notions of virtual instrument, virtual performer, virtual composer, and even virtual listener.

Interactive music-making frequently blurs the conventional distinction between compositional and improvisational activity. Key issues in interactive music making are socialisation, collective authorship, geographical and temporal synchronicity/asynchronicity, and ’distributed activity’.


See also:

Emergence, Immersive Environment, Interactive Instruments, Internet Music, Live Electronics, Multimedia




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



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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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