This dissertation is comprised of three recent original compositions- Dis Un Il Im Ir, In sin fin bin din bin fin sin in, and Percussion+Guitar. Each work has a unique approach to integrating instrumental performance with humans and computers. The essay component details unique computer-performer interactions I’ve developed to overcome complications in the concert presentation of previous acousmatic and mixed media works. The three works discussed here are related in their instrumentation and compositional style. Dis Un Il Im Ir (2013), for flute, piano, and MIDI keyboard, experiments with the limit of human virtuosity and attempts to extend its affect via sound synthesis and digital samples. In sin fin bin din bin fin sin in (2104), for four computer-controlled pianos with electronic sounds, focuses on repeated melodic and harmonic patterns explored in previous works contrasted with unruly mechanical spasms. Percussion+Guitar (2015), for two computer-controlled flutes (contrary to the title), features a specially designed instrument built at Columbia University’s Computer Music Center. This composition is a duet with a structure defined by heightened rhythmic angularity and blazing fast speeds demonstrating the computer's special skills as a performer. The essay part of this dissertation includes an analysis of the pitches, rhythms, and gestures where appropriate. I provide details about the artistic uses of software and hardware for each project. I trace my artistic inspirations for composing with and for computers and robots to my experiences in acousmatic music, pop production, and hands-on music making. I describe my process of organizing contrasting sounds into form-bearing elements- an approach inspired by Pierre Schaeffer’s typomorphology of sound objects later revisited by Lasse Thoresen. The paper concludes with a brief discussion about future works.

Thesis (M.S.)--Worcester Polytechnic Institute. / Keywords: color thresholding; video for Windows; center of mass calculation; contour extraction; area calculation; virtual orchestra; Broadway. Includes bibliographical references (leaves 62-63).

Thesis (M.S.)--West Virginia University, 2000. / Title from document title page. Document formatted into pages; contains ix, 142 p. : ill. (some col.) Includes abstract. Includes bibliographical references (p. 76-78).

Thesis (M.Phil.)--Hong Kong University of Science and Technology, 2005. / Includes bibliographical references (leaves 47-49). Also available in electronic version.

This thesis investigates the feasibility of using a new digital interconnection technology, the IEEE-1394 High Performance Serial Bus, for audio and control data distribution in local and remote music recording studio environments. Current methods for connecting studio devices are described, and the need for a new digital interconnection technology explained. It is shown how this new interconnection technology and developing protocol standards make provision for multi-channel audio and control data distribution, routing, copyright protection, and device synchronisation. Feasibility is demonstrated by the implementation of a custom hardware and software solution. Remote music studio connectivity is considered, and the emerging standards and technologies for connecting future music studio utilising this new technology are discussed. / Microsoft Word / Adobe Acrobat 9.46 Paper Capture Plug-in

A powerful and efficient algorithm has been designed to deal with the critical timing problem of the MIDI messages. This algorithm can convert note events stored in a natural way to MIDI messages dynamically. Only limited memory space (the buffer) is required to finish the conversion work, and the size of the buffer is independent of the size of the original sequence (notes). This algorithm's real-time variable properties suggest not only the flexible real-time controls in the use of musical aspects, but also the expandability to interactive multi-media applications. A compositional environment called MusicSculptor has been implemented in terms of this algorithm.

This work involves the design and implementation of a real-time Machine Vision-based Human Computer Interface (HCI) that analyzes and interprets a music conductor's gestures to detect the musical "beat". This HCI system interfaces directly with the "Virtual Orchestra", an electronic MIDI sequenced "orchestra". Prior to the development of this HCI system, the real time control of the tempo of the "Virtual Orchestra" could only be controlled by tapping a tempo on a MIDI controller device--a process that is foreign to most music conductors. The real-time beat information detected by this HCI system allows a conductor to conduct the "Virtual Orchestra" as if it were a live orchestra. This system was developed using the Broadway real-time color image capture board manufactured by Data Translation, Incorporated. The implementation involved the use of Microsoft Visual C++, Microsoft Foundation Classes (MFC) for the Graphical User Interface (GUI), Video For Windows (VFW), MIDI note generation, and Intel assembly level code optimization. Algorithms were developed for rapid RGB color thresholding, multiple contour extraction, fast contour based area and center of mass calculations, and gesture interpretation. Real time, live-video interpretation has been achieved and an end-to-end system has been demonstrated in conjuction with a MIDI sequencer.