Interactivity

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

 

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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Gurevich, Michael (2006). JamSpace: Designing a Collaborative Networked Music Space for Novices
Hahn, Tomie, Bahn, Curtis (2002). {Pikapika} - The collaborative composition of an interactive sonic character
Hamman, Michael (2004). On Technology and Art: Xenakis at Work
Harris, Yolande (2004). The Meta-Orchestra: Research by practice in group multi-disciplinary electronic arts
Harris, Yolande (2006). Inside-out instrument
Harris, Yolande, Bongers, Bert (2002). Approaches to Creating Interactivated Spaces, from Intimate to Inhabited Interfaces
Helmuth, Mara (2005). Virtual musical performance and improvisation on Internet2
HINOJOSA CHAPEL, Rubén (2003). Realtime Algorithmic Music Systems From Fractals and Chaotic Functions: Toward an Active Musical Instrument
Holmes, Thom (2002). Electronic and Experimental Music
Hugill, Andrew (2005a). Internet Music: An Introduction
Hunt, Andy, Kirk, Ross, Orton, Richard, Merrison, Benji (1998). A Generic Model for Compositional Approaches to Audiovisual Media
Impett, Jonathan (1996). Projection and Interactivity of Musical Structures in {Mirror-Rite}
Impett, Jonathan (2000). Situating the {Invention} in Interactive Music
Jordà, Sergi (2001a). New Musical Interfaces and New Music-making Paradigms
Jordà, Sergi (2001b). Improvising with Computer: A Personal Survey (1989-2001)
Jordà, Sergi (2002a). FMOL: Toward User-Friendly, Sophisticated New Musical Instruments
Jordà, Sergi (2002b). Improvising With Computers: A Personal Survey (1989-2001)
Jordà, Sergi (2003). Sonigraphical Instruments: From FMOL to the reacTable
JORDÀ, Sergi (2005). Digital Lutherie: Crafting musical computers for new musics’ performance and improvisation
Kapur, Ajay, Wang, Ge, Davidson, Philip, Cook, Perry R. (2005). Interactive Network Performance: a dream worth dreaming?
Kim, Jin Hyun, Seifert, Uwe (2006). Embodiment: The body in algorithmic sound generation
Kimura, Mari (1995). Performance Practice in Computer Music
Kimura, Mari (2003). Creative Process and Performance Practice of Interactive Computer Music: A performer’s tale
Krefeld, Volker (1990). The Hand in the Web: An Interview with Michel Waisvisz
Kronland-Martinet, Richard, Voinier, Thierry, Guillemain, Philippe (1999). Agir sur le son musical avec la baguette radio
Landy, Leigh, Jamieson, Evelyn, Ng, Kia (2003). {In Transit} or Realising One’s Aesthetic when the Technology Finally Catches Up
Lane, Cathy, Parry, Nye (2005). The {Memory Machine}: sound and memory at the British Museum
Laske, Otto (1978). Considering Human Memory in Designing User Interfaces for Computer Music
Laske, Otto E. (1977). Toward a Theory of Interfaces for Computer Music Systems
Laubier, Serge de (2000). The Meta-Instrument. How the project started
Légeret, Katia (2003). Interface danse/musique une poétique de l’énergie percussive
Lippe, Cort (1996). Real-Time Interactive Digital Signal Processing: A View of Computer Music
Livingstone, Hugh (2000). Paradigms for the New String Instrument: Digital and materials technology
Magnusson, Thor (2006). Screen-Based Musical Interfaces as Semiotic Machines
Mandelis, James, Husbands, Phil (2003). Musical Interaction with Artificial Life Forms: Sound Synthesis and Performance Mappings
Marino, Gérard, Serra, Marie-Hélène, Raczinski, Jean-Michel (1993). The UPIC System: Origins and Innovations
Mathews, Max (1995). The Esthetic Situation and Actual View of Electroacoustic Music Performance
McNutt, Elizabeth (2003). Performing Electroacoustic Music: A wider view of interactivity
Menzies, Dylan (2002). Composing Instrument Control Dynamics
Merlier, Bertrand (1998). À la conquête de l’espace
Merlier, Bertrand (2002a). Qu’est-ce que l’informatique musicale ?
Mulder, Axel (1996). Getting a Grip on Alternate Controllers: Addressing the Variability of Gestural Expression in Musical Instrument Design
Mulder, Robert, Allick, Kristi (2002). {Fragrances of Time and Space}: An Omniscape Installation
Myatt, Tony (2002). Strategies for Interaction in {Construction 3}
Mäkelä, Tapio (2006). As We May Network: Shifting sound and media art practices
Ng, Kia (2002). Sensing and Mapping for Interactive Performance
Ostertag, Bob (2002). Human Bodies, Computer Music
Paine, Garth (1999). Immersive Virtual Environments: A Social Perspective
Paine, Garth (2002). Interactivity, Where to from here?
Paine, Garth (2003). {Reeds}: A responsive environmental installation
Paradiso, Joseph, Hsiao, Kai-Yuh, Hu, Eric (1999). Interactive Music for Instrumental Dancing Shoes
PATTON, Kevin (2007). Morphological notation for interactive electroacoustic music
Pellegrino, Ronald (1983). The Electronic Arts of Sound and Light
Pennycook, Bruce (1993). La musique électroacoustique en concert : vieux problèmes, nouvelles solutions
Perloff, Nancy (2004). Hearing Spaces: David Tudor’s Collaboration on {Sea Tails}
Pope, Stephen Travis (1993). Real-Time Performance via User Interface to Musical Structures
Pottier, Laurent (1999). Contrôle interactif d’une voix chantée de synthèse
Pottier, Laurent (2003). {Straps} : pièce d’Eryck Abecassis pour ensemble et électronique en concert
Povall, Richard (1995). Compositional Methods in Interactive Performance Environments
Povall, Richard (1996). Adding Video into the (Real)time Domain

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