The initial research for this work was conducted for my multimedia composition with a live performance of the work: Monster, in close collaboration with computer music engineer Marian Weger. The premiere of the work was on the 21st of January 2012 in Semperdepot Vienna. Monster is a mixed-media performance for Flute, electronics, one dancer and real-time video projection. The aim was to present an audio-visual dance performance based on a set of pre-recorded fragments, processed and arranged using powerful sequencer software. Distortions in the flute samples in the form of frequency shifts and the application of filters were among various elements exploited in order to enhance the immersive experience of the audience and the role of the music was to be one of subtle but direct influence of the listeners' sensations, by remaining more a background phenomenon than a forefront element of the work. This allowed for observers' perceptions to be shaped predominantly by the visual aspect of the performance. This piece exploits the natural tensions found on the borderline between natural and synthetic sounds and thus opens up a new vocabulary of sound possibilities.
High Quality Content by WIKIPEDIA articles! Research in artificial intelligence (AI) is known to have impacted medical diagnosis, stock trading, robot control, and several other fields. Perhaps less popular is the contribution of AI in the field of music. Nevertheless, artificial intelligence and music (AIM) has, for a long time, been a common subject in several conferences and workshops, including the International Computer Music Conference, the Computing Society Conference and the International Joint Conference on Artificial Intelligence. In fact, the first International Computer Music Conference was the ICMC 1974, Michigan State University, East Lansing, USA Current research includes the application of AI in music composition, performance, theory and digital sound processing . Several music software applications have been developed that use AI to produce music. A few examples are included below. Note that there are many that are still being developed.
The body of work presented in this volume explores some of my acoustic, electroacoustic and audiovisual compositions during a period of post graduate study, in particular works generated through investigations into commercially available computer music software. The purpose of the text is to chronicle, typify, and contextualise the creation of various works, to galvanise the aesthetic foundations of the pieces and to illustrate compositional techniques that I have developed and explored. The work provides an overview of influences, constructs and conceptual ideology pivotal to my compositional process, including the analyse of various creative procedures as applied to commercially available computer music software.
Finding or composing suitable media music often poses a serious challenge to media producers: Low-budget video productions, video game producers etc. often lack know-how or resources to have adequate media music composed for the application in question. To avoid the use of royalty-free music libraries, this book suggests the use of generative algorithms for music production. First, functions, impacts and possible taxonomies of media music are investigated, along with its emotional and semantic content. Moreover, a model for the musical representation of emotional or affective states is introduced using Russell's Circumplex Model of Affects and based on state-of-the-art research on this topic. Eventually, algorithms suitable for automated composition of music are evaluated, with a special focus on the ability to map the musical parameters derived from the above-mentioned emotional model onto the algorithms' input parameters. In addition, using the most applicable methods for automated composition, a prototypical music-generating application is developed. This book addresses media producers, computer musicians and audio engineers engaged in sound and music computing.
In computer music, it is often the case that thecompositional act and the parametric control of theunderlying synthesis algorithms can not be separated from each other. In these situations, composition iscompletely intertwined with and dependent on thecontrol of the synthesis parameters. As aconsequence, the compositional process can bestrongly shaped by the nature of the synthesis technique that is being used. Computer compositionthen requires the composer to have a deepunderstanding of the synthesis algorithms and theirtheoretical basis. As numerous and diverse synthesistechniques have emerged in recent decades, speci c compositional approaches have had to adapt tothe control of each one. Instead of relying on suchad-hoc procedures of compositional control, computermusic composers would bene t from a more generalapproach, one that could be applied in a variety ofsituations and contexts. The compositional control ofcomputer music by fuzzy logic is proposed in thisbook as a way of achieving this goal.
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. The term Radical Computer Music was coined by the Danish/Faroese musician/artist Parl Kristian Bjørn Vester, aka Goodiepal or Gæoudjiparl van den Dobbelsteen, while a teacher in composition at the Royal Academy of Music in Aarhus, Denmark, between 2004-2008. The term relates to the ongoing project Mort Aux Vaches Ekstra Extra, which is a compositional game scenario conceived by Goodiepal in 2004 questioning the role of the composer, time, notation and media. Radical Computer Music has been presented frequently by Goodiepal at numerous lectures, performances and exhibitions throughout the western world since 2007. It is fundamentally music notated, not by computer networks but for computer networks, as a gesture towards the machine and the artificial intelligence expected to develop from it.
Revision with unchanged content. This Book derives from research on musical practices mediated by computer networks conducted from 2001 to 2005 in the Music Technology Group of the Pompeu Fabra University in Barcelona, Spain. It departs from work carried out over the last decades in the field of Computer-Supported Cooperative Work, which provides us with collaborative communication mechanisms that can be regarded from a music perspective in diverse scenarios: Composition, Performance, Improvisation, Interpretation or Education. The Book presents an extensive survey and systematic classification of Computer-Supported Cooperative Work for Music Applications. This survey led to the identification of innovative approaches, models and applications, with special emphasis on the shared nature of geographically displaced communication over the Internet. The notion of a Shared Sonic Environments was introduced and implemented in a proof-of-concept application entitled Public Sound Objects (PSOs). This work also introduces innovative methods reduce the disrupting effect of network latency in musical communication over long distance networks.
Electroacoustic music includes several different sonic and musical genres or musical techniques. Electroacoustic music is a diverse field. Important centers of research and composition can be found around the world, and there are numerous conferences and festivals which present electroacoustic music, notably the International Computer Music Conference, the International Conference on New interfaces for musical expression, the Bourges International Electroacoustic Music Festival (Bourges, France), and the Ars Electronica Festival (Linz, Austria). A number of national associations promote the art form, notably the Canadian Electroacoustic Community (CEC) in Canada, the Society for Electro-Acoustic Music in the United States (SEAMUS) in the US, the Australasian Computer Music Association in Australia and New Zealand, and the Sonic Arts Network in the UK. The Computer Music Journal and Organised Sound are the two most important journals dedicated to electroacoustic studies, while several national associations produce print and electronic publications.
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Robert Damian Ellis (born 13 February 1962, in Bristol, England) is a rock drummer, producer, and arranger. He is best-known for his work with PJ Harvey, with whom he has been most closely associated as producer, arranger and musician since 1990. However, between recording and extensive touring with that artist, he has been involved with a wide range of other projects. His own compositional work, which could be described as being something akin to contemporary classical music, has been released on two recordings Music for the home - Volume 1 (2000) & Music for the home - Volume 2 (2004) for The Leaf Label. This music, which utilises traditional methods of composition alongside modern computer techniques references and sometimes directly quotes from such giants of 20th Century classical music as Debussy, Ravel and Stravinsky, often in a deliberately whimsical and humorous way, although equally often a deep sense of melancholy and cynicism pervades. His band, Spleen'', have recorded three albums Soundtrack to Spleen (1996) Little Scratches (1998) and Nun Lover! (2006) and he has also recorded under the name Christmas .