Interactive music systems: machine listening and composing
Interactive music systems: machine listening and composing
Composing Interactive Music: Techniques and Ideas Using Max
Composing Interactive Music: Techniques and Ideas Using Max
Interactivity, where to from here?
Organised Sound
Introducing composed instruments, technical and musicological implications
NIME '02 Proceedings of the 2002 conference on New interfaces for musical expression
The limitations of mapping as a structural descriptive in electronic instruments
NIME '02 Proceedings of the 2002 conference on New interfaces for musical expression
Creating ad hoc instruments with Pin&Play&Perform
NIME '06 Proceedings of the 2006 conference on New interfaces for musical expression
The reacTable*: A Collaborative Musical Instrument
WETICE '06 Proceedings of the 15th IEEE International Workshops on Enabling Technologies: Infrastructure for Collaborative Enterprises
Designing constraints: Composing and performing with digital musical systems
Computer Music Journal
Audio delivery and territoriality in collaborative digital musical interaction
BCS-HCI '12 Proceedings of the 26th Annual BCS Interaction Specialist Group Conference on People and Computers
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Throughout the short history of interactive digital music, there have been frequent calls for a new language of interaction that incorporates and acknowledges the unique capabilities of the computational medium. In this paper we suggest that a conceptualisation of possible modes of performance–time interaction can only be sensibly approached in light of the ways that computers alter the social–artistic interactions that are precursive to performance. This conceptualisation hinges upon a consideration of the changing roles of composition, performer and instrument in contemporary practice. We introduce the term behavioural object to refer to software that has the capacity to act as the musical and social focus of interaction in digital systems. Whilst formative, this term points to a new framework for understanding the role of software in musical culture. We discuss the potential for behavioural objects to contribute actively to musical culture through two types of agency: performative agency and memetic agency.