Electronic music: new ways to play
IEEE Spectrum
Machine musicianship
Inside the "conductor's jacket": analysis, interpretation and musical synthesis of expressive gesture
On interface expressivity: a player-based study
NIME '05 Proceedings of the 2005 conference on New interfaces for musical expression
Facilitating collective musical creativity
Proceedings of the 13th annual ACM international conference on Multimedia
The Aesthetics of Failure: "Post-Digital" Tendencies in Contemporary Computer Music
Computer Music Journal
The Extraction of Expressive Shaping in Performance
Computer Music Journal
The 'E' in NIME: musical expression with new computer interfaces
NIME '06 Proceedings of the 2006 conference on New interfaces for musical expression
Rage in Conjunction with the Machine
NIME '07 Proceedings of the 7th international conference on New interfaces for musical expression
Spectator understanding of error in performance
CHI '09 Extended Abstracts on Human Factors in Computing Systems
Sonify your face: facial expressions for sound generation
Proceedings of the international conference on Multimedia
Designing constraints: Composing and performing with digital musical systems
Computer Music Journal
Digital sound processing preservation: impact on digital archives
Proceedings of the 2012 iConference
Exploring HCI's relationship with liveness
CHI '12 Extended Abstracts on Human Factors in Computing Systems
Priming creativity through improvisation on an adaptive musical instrument
Proceedings of the 9th ACM Conference on Creativity & Cognition
| Hi-index | 0.00 |
We describe the prevailing model of musical expression, which assumes a binary formulation of "the text" and "the act," along with its implied roles of composer and performer. We argue that this model not only excludes some contemporary aesthetic values but also limits the communicative ability of new music interfaces. As an alternative, an ecology of musical creation accounts for both a diversity of aesthetic goals and the complex interrelation of human and non-human agents. An ecological perspective on several approaches to musical creation with interactive technologies reveals an expanded, more inclusive view of artistic interaction that facilitates novel, compelling ways to use technology for music. This paper is fundamentally a call to consider the role of aesthetic values in the analysis of artistic processes and technologies.