Thesis (Ph. D.)--University of California, San Diego, 2010. / Title from 1st page of PDF file (viewed Mar. 9, 2010). Available via ProQuest Digital Dissertations. Vita. Includes 3 compact discs containing audio examples for the dissertation. Includes bibliographical references: P. 137-142.

Thesis (D.M.A.--Music)--University of California, San Diego, 2000. / Vita. Thesis consists of a document exploring "the issues of performing and recording music that uses technology" and a recording project. Five pieces of music for flute and computer technology were involved in the recording project: The twittering machine by Andrew May; Music for Flute and Computer by Cort Lippe; The Blistering Price of Power by Eric Lyon; Interact I by Barry Moon; and Jupiter by Philippe Manoury. Duration of acc. tapes: 58:05. "Selective discography" of works for flute and interactive electronics, and of works for flute and electronics on tape (leaves 54-55). Includes bibliographical references (leaves 58-61).

Brain-computer music interfacing (BCMI) presents a novel approach to music making, as it requires only the brainwaves of a user to control musical parameters. This presents immediate benefits for users with motor disabilities that may otherwise prevent them from engaging in traditional musical activities such as composition, performance or collaboration with other musicians. BCMI systems with active control, where a user can make cognitive choices that are detected within brain signals, provide a platform for developing new approaches towards accomplishing these activities. BCMI systems that use passive control present an interesting alternate to active control, where control over music is accomplished by harnessing brainwave patterns that are associated with subconscious mental states. Recent developments in brainwave measuring technologies, in particular electroencephalography (EEG), have made brainwave interaction with computer systems more affordable and accessible and the time is ripe for research into the potential such technologies can offer for creative applications for users of all abilities. This thesis presents an account of BCMI development that investigates methods of active, passive and hybrid (multiple control methods) control that include control over electronic music, acoustic instrumental music, multi-brain systems and combining methods of brainwave control. In practice there are many obstacles associated with detecting useful brainwave signals, in particular when scaling systems otherwise designed for medical studies for use outside of laboratory settings. Two key areas are addressed throughout this thesis. Firstly, improving the accuracy of meaningful brain signal detection in BCMI, and secondly, exploring the creativity available in user control through ways in which brainwaves can be mapped to musical features. Six BCMIs are presented in this thesis, each with the objective of exploring a unique aspect of user control. Four of these systems are designed for live BCMI concert performance, one evaluates a proof-of-concept through end-user testing and one is designed as a musical composition tool. The thesis begins by exploring the field of brainwave detection and control and identifies the steady-state visually evoked potential (SSVEP) method of eliciting brainwave control as a suitable technique for use in BCMI. In an attempt to improve signal accuracy of the SSVEP technique a new modular hardware unit is presented that provides accurate SSVEP stimuli, suitable for live music performance. Experimental data confirms the performance of the unit in tests across three different EEG hardware platforms. Results across 11 users indicate that a mean accuracy of 96% and an average response time of 3.88 seconds are attainable with the system. These results contribute to the development of the BCMI for Activating Memory, a multi-user system. Once a stable SSVEP platform is developed, control is extended through the integration of two more brainwave control techniques: affective (emotional) state detection and motor imagery response. In order to ascertain the suitability of the former an experiment confirms the accuracy of EEG when measuring affective states in response to music in a pilot study. This thesis demonstrates how a range of brainwave detection methods can be used for creative control in musical applications. Video and audio excerpts of BCMI pieces are also included in the Appendices.

The inability to share resources in commercial and institutional computer music studios results in non-optimal resource utilisation. The use of computers to process, store and communicate data can be extended within these studios, to provide the capability of sharing resources amongst their users. This thesis describes a computer music network which was designed for this purpose. Certain devices had to be custom built for the implementation of the network. The thesis discusses the design and construction of these devices.

Two of the leading methodologies for spatializing audio over multiple channels include non-real-time multi-track tape and variations of real-time systems that often involve complex configurations of hardware. Of the latter, composers relying on MIDI as a control source have used pairs of sound modules, effects units and automation capable mixers to achieve spatialization over four loudspeakers. These systems typically employ intensity panning, Doppler shifts and reverberation. The present research details the development of a compact spatialization system using a MAX patch controlling a Kurzweil K2500 sampler. This system supports real-time diffusion of up to six simultaneous sound files over eight loudspeakers while incorporating intensity panning, Doppler shifts, delays and filtering. The MAX patch allows composers to choose from several automatic sound spatialization trajectories or to use the mouse to draw and store their own trajectories for later playback. The piece, Circumfusion, is an eighteen-minute composition of electroacoustic music utilizing this spatialization system.

And Drops of Rain Fall Like Tears is a composition for electroacoustic music with an optional ambient video component. The composition consists of a single movement electroacoustic work twenty-two minutes in duration. The piece creates an immersive sonic environment within the confines of a typical concert space, thereby recreating the powerful temper and subtle beauty of nature from different sonic perspectives. The paper is divided into four chapters, each discussing an element of the piece in detail. The introduction presents background information and compositional approach for the composition. Chapters 1 through 4 present detailed information related to the creation of both the electroacoustic music and video elements of the piece. Chapter 4 contains relevant information to the performance of the piece.

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Rainpiece is a composition for flute, viola, harp, and computer, cyclic and open in form, and inviting collaborative improvisation by instrumentalists and computer operator together. It is also a study of water, from torrential downpours and bubbling springs to rivers and waterfalls. The movement of water through the phases of the water cycle is the central metaphor guiding the cyclic and theoretically endless structure of the work. Rainpiece is also a model of community, collaboration, and above all mindful meditation. The metaphor of water is one that focuses the mind, and brings together the community of performers and audience members into a context with which all can connect emotionally. Like the sound of flowing water (which is included in the piece in the form of processed field recordings), the musical ideas of Rainpiece are constantly changing, and yet continually recurring and returning; this connects with concepts of meditation and mantra as well. The work proposes a new direction in interactive chamber music that integrates natural and composed sound worlds, with the goal of shaping a social and acoustic environment that allows for openness, mindfulness, and connection.