Global ETD Search

31	Recent Approaches to Real-Time Notation Shafer, Seth 05 1900 (has links) This paper discusses several compositions that use the computer screen to present music notation to performers. Three of these compositions, Law of Fives (2015), Polytera II (2016), and Terraformation (2016–17), employ strategies that allow the notation to change during the performance of the work as the product of composer-regulated algorithmic generation and performer interaction. New methodologies, implemented using Cycling74's Max software, facilitate performance of these works by allowing effective control of generation and on-screen display of notation; these include an application called VizScore, which delivers notation and conducts through it in real-time, and a development environment for real-time notation using the Bach extensions and graphical overlays around them. These tools support a concept of cartographic composition, in which a composer maps a range of potential behaviors that are mediated by human or algorithmic systems or some combination of the two. Notational variation in performance relies on computer algorithms that can both generate novel ideas and be subject to formal plans designed by the composer. This requires a broader discussion of the underlying algorithms and control mechanisms in the context of algorithmic art in general. Terraformation, for viola and computer, uses a model of the performer's physical actions to constrain the algorithmic generation of musical material displayed in on-screen notation. The resulting action-based on-screen notation system combines common practice notation with fingerboard tablature, color gradients, and abstract graphics. This hybrid model of dynamic notation puts unconventional demands on the performer; implications of this new performance practice are addressed, including behaviors, challenges, and freedoms of real-time notation. Notation Interactivity VizScore Max/MSP Cartographic composition Performance practice Musical notation. Real-time data processing. Composition (Music) Viola music. Electronic and viola music. Aleatory music. Academic theses Art music Aleatory music Scores
32	Examining Sonic Relationships in a Visual Context Hartman, Nathaniel 18 July 2012 (has links) No description available. Artificial Intelligence Audiology Composition Experiments Fine Arts Information Systems Mass Media Performing Arts Robotics Robots Technology Phenomenology Sound Computer Intelligence Max/MSP Programming Abstraction Percussion Wikileaks Prepared Paino John Cage
33	Interaktiv musikkomposition / Interactive Music Composition Andersson, Anders-Petter January 2012 (has links) This dissertation, titled Interactive Music Composition, is a practice based Ph.D. thesis in the field of Musicology. The purpose is to explore if and how one can compose computer based interactive music, that is musically satisfying for an interacting audience, consisting of both laymen and skilled musicians. The text describes the design and reflection in two interactive music installations: Do-Be-DJ, open-air installation in a public park, and, Mufi, with modular and moveable interface. Based on methods and perspectives in Musicology and Interaction Design, a composition model for interactive music is developed. The model investigates the experience dimensions listen, explore, compose and collaborate. It also investigates the design dimensions of interaction, narrative structure, composition rule and sound node. The conceptual approach is to apply improvisation and composition methods from jazz, pop and groove based music on interactive music. It also uses the concepts of openess in musical structures and interpretation, musical mediation of actions and meaning and everyday use of music, when composing interactive music. The dissertation contributes to an understanding of how to create composition techniques for interactive music, such as: Direct, varied and shifting response. It reflects on the change in meaning of the musicological terms composition, improvisation, musical work, listener, musician and audience. And on the interaction design terms interaction, gameplay, system and user. The term co-creator is used to describe an actively, interacting and collaborating person, to complement traditional terms like audience, performer and user. / <p>Ljudfiler till avhandlingens bilaga 1, http://musicalfieldsforever.com/dobedj_more.html; Videodokumentation av Do-Be-DJ, Interaktiv installation, http://musicalfieldsforever.com/dobedj_more.html; Videodokumentation av Mufi I och II, Interaktiv installation, http://musicalfieldsforever.com/mufi_more.html; Doktorandtjänsten finansierades av Interactive Institute; Musikinspelning finansierades av Framtidens Kultur genom Skiften på Malmö högskola</p> / Interaktiv musikkomposition / Interactive Music Composition / Interaktiv ljuddesign / Interactive Sound Design / Musik och Hälsa / Music and Health Interactive Music Music Composition Improvisation Sound Design Interaction Design Musicology Narrative Gameplay Co-creator Collaboration Open Computer Music Practice based Artistic Research Research by Design Music analysis Musicking Musical Mediation Shifting response Genre Funk Jazz Techno SuperCollider Max/MSP Interaktiv musik Musikkomposition Improvisation Ljuddesign Interaktionsdesign Musikvetenskap Narrativ Spelbarhet Medskapare Samarbeta Öppen Datormusik Praktikbaserad Konstnärlig forskning Konstnärlig-kreativ Designforskning Musikanalys att musika Musikalisk mediering Skiftande response Genre Funk Jazz Techno SuperCollider Max/MSP
34	My MFA Experience Cuevas Santamaría, Sergio Axel 27 August 2018 (has links) No description available. Art Education Art Criticism Art History Biology Computer Science Dance Environmental Studies Fine Arts Music Plant Biology Pollen Spirituality thesis MFA bioart biology installation immersive domes geodesic dome fulldome slime mold Max MSP sound art and tech Hopkins axel Cuevas Santamaria projections video projection mapping living systems virtual vr interactivity plant

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