Interactive Composition

Author: V. J. Manzo
Publisher: Oxford University Press, USA
ISBN: 0199973822
Category : Music
Languages : en
Pages : 281

Book Description
Manzo and Kuhn provide readers with all the practical skills and insights necessary to compose and perform electronic music in a variety of popular styles. Even those with little experience with digital audio software will learn to design powerful systems that facilitate their own compositional ideas.

Composing Interactive Music

Author: Todd Winkler
Publisher: MIT Press
ISBN: 9780262731393
Category : Music
Languages : en
Pages : 372

Book Description
Interactive music refers to a composition or improvisation in which software interprets live performances to produce music generated or modified by computers. In Composing Interactive Music, Todd Winkler presents both the technical and aesthetic possibilities of this increasingly popular area of computer music. His own numerous compositions have been the laboratory for the research and development that resulted in this book. The author's examples use a graphical programming language called Max. Each example in the text is accompanied by a picture of how it appears on the computer screen. The same examples are included as software on the accompanying CD-ROM, playable on a Macintosh computer with a MIDI keyboard. Although the book is aimed at those interested in writing music and software using Max, the casual reader can learn the basic concepts of interactive composition by just reading the text, without running any software. The book concludes with a discussion of recent multimedia work incorporating projected images and video playback with sound for concert performances and art installations.

Interactive Sound and Music

Author: Lucy Ann Harrison
Publisher: CRC Press
ISBN: 1040269311
Category : Computers
Languages : en
Pages : 172

Book Description
Interactive Sound and Music: Beyond Pressing Play provides an accessible exploration into the aesthetics of interactive audio, using examples from video games, experimental music, and participatory theatre and sound installations. Offering a practitioner’s perspective, the book places interactive sound and music within a broader aesthetic context relating to key texts and discussion within musicology and wider art practices. Each chapter takes the reader through a key debate surrounding interactive sound and music, such as: Is it actually interactive and does it actually matter? How do audience expectations change in an interactive space? How do you compose for multiple possibilities? Is interactive sound and music ever finished? Where now for interactive sound and music? Supported by a series of questions at the end of each chapter that can be used as a focus for seminar or reading group activities, this is an ideal textbook for students on audio engineering, music technology, and game audio courses, as well as an essential guide for anyone interested in interactive sound and music.

Interactive Technologies and Music Making

Author: Tracy Redhead
Publisher: CRC Press
ISBN: 104009435X
Category : Technology & Engineering
Languages : en
Pages : 212

Book Description
Challenging current music making approaches which have traditionally relied on the repetition of fixed forms when played, this book provides a new framework for musicians, composers, and producers wanting to explore working with music that can be represented by data and transformed by interactive technologies. Beginning with an exploration into how current interactive technologies, including VR and AR, are affecting music, the book goes on to create an accessible compositional model which articulates the emerging field of ‘transmutable music.’ It then shows how to compose and produce transmutable music for platforms like video games, apps and interactive works, employing tutorials which use a range of inputs from sensors, data, and compositional approaches. The book also offers technical exercises on how to transform data into usable forms (including machine learning techniques) for mapping musical parameters, and discussion points to support learning. This book is a valuable resource for industry professionals wanting to gain an insight into cutting edge new practice, as well as for assisting musicians, composers, and producers with professional development. It is also suitable for students and researchers in the fields of music/audio composition and music/audio production, computer game design, and interactive media.

Meaning in Linguistic Interaction

Author: Kasia M. Jaszczolt
Publisher: Oxford University Press
ISBN: 0191068985
Category : Language Arts & Disciplines
Languages : en
Pages : 320

Book Description
This book offers a semantic and metasemantic inquiry into the representation of meaning in linguistic interaction. Kasia Jaszczolt's view represents the most radical stance on meaning to be found in the contextualist tradition and thereby the most radical take on the semantics/pragmatics boundary. It allows for the selection of the cognitively plausible object of enquiry without being constrained by such distinctions as what is said/what is implicated or what is linguistic and what is extralinguistic. She argues that this is the only promising stance on meaning. The analysis transcends the traditional distinctions drawn, and traditional questions posed, in post-Gricean pragmatics and philosophy of language. It heavily relies on the dynamic construction of meaning in discourse, using truth conditions as a tool but at the same time conforming to pragmatic compositionality ? whereby aspects of meaning that enter this composition have very different provenance. Meaning in Linguistic Interaction builds on the author's earlier work on Default Semantics and adds new arguments in favour of radical contextualism as well as novel applications, focusing on the role of salience, the flexibility of word meaning, the literal/nonliteral distinction, and the dynamic nature of a character, as well as offering an entirely new perspective on the indexical/nonindexical distinction. It contains a state-of-the-art discussion of the semantics/pragmatics boundary disputes, focusing on varieties of semantic minimalism and contextualism and on the limitations of an indexicalism. Jaszczolt's work is illustrated with examples from a variety of languages and offers some formal representations of meaning in the metalanguage of Default Semantics.

Meaning in Linguistic Interaction

Author: Katarzyna Jaszczolt
Publisher: Oxford University Press
ISBN: 0199602468
Category : Language Arts & Disciplines
Languages : en
Pages : 228

Online Course Management: Concepts, Methodologies, Tools, and Applications

Author: Management Association, Information Resources
Publisher: IGI Global
ISBN: 1522554734
Category : Education
Languages : en
Pages : 2280

Book Description
The rapid growth in online and virtual learning opportunities has created culturally diverse classes and corporate training sessions. Instruction for these learning opportunities must adjust to meet participant needs. Online Course Management: Concepts, Methodologies, Tools, and Applications is a comprehensive reference source for the latest scholarly material on the trends, techniques, and management of online and distance-learning environments and examines the benefits and challenges of these developments. Highlighting a range of pertinent topics, such as blended learning, social presence, and educational online games, this multi-volume book is ideally designed for administrators, developers, instructors, staff, technical support, and students actively involved in teaching in online learning environments.

A NIME Reader

Author: Alexander Refsum Jensenius
Publisher: Springer
ISBN: 3319472143
Category : Technology & Engineering
Languages : en
Pages : 506

Book Description
What is a musical instrument? What are the musical instruments of the future? This anthology presents thirty papers selected from the fifteen year long history of the International Conference on New Interfaces for Musical Expression (NIME). NIME is a leading music technology conference, and an important venue for researchers and artists to present and discuss their explorations of musical instruments and technologies. Each of the papers is followed by commentaries written by the original authors and by leading experts. The volume covers important developments in the field, including the earliest reports of instruments like the reacTable, Overtone Violin, Pebblebox, and Plank. There are also numerous papers presenting new development platforms and technologies, as well as critical reflections, theoretical analyses and artistic experiences. The anthology is intended for newcomers who want to get an overview of recent advances in music technology. The historical traces, meta-discussions and reflections will also be of interest for longtime NIME participants. The book thus serves both as a survey of influential past work and as a starting point for new and exciting future developments.

The Materiality of Interaction

Author: Mikael Wiberg
Publisher: MIT Press
ISBN: 026234470X
Category : Design
Languages : en
Pages : 203

Book Description
A new approach to interaction design that moves beyond representation and metaphor to focus on the material manifestations of interaction. Smart watches, smart cars, the Internet of things, 3D printing: all signal a trend toward combining digital and analog materials in design. Interaction with these new hybrid forms is increasingly mediated through physical materials, and therefore interaction design is increasingly a material concern. In this book, Mikael Wiberg describes the shift in interaction design toward material interactions. He argues that the “material turn” in human-computer interaction has moved beyond a representation-driven paradigm, and he proposes “material-centered interaction design” as a new approach to interaction design and its materials. He calls for interaction design to abandon its narrow focus on what the computer can do and embrace a broader view of interaction design as a practice of imagining and designing interaction through material manifestations. A material-centered approach to interaction design enables a fundamental design method for working across digital, physical, and even immaterial materials in interaction design projects. Wiberg looks at the history of material configurations in computing and traces the shift from metaphors in the design of graphical user interfaces to materiality in tangible user interfaces. He examines interaction through a material lens; suggests a new method and foundation for interaction design that accepts the digital as a design material and focuses on interaction itself as the form being designed; considers design across substrates; introduces the idea of “interactive compositions”; and argues that the focus on materiality transcends any distinction between the physical and digital.

Liveness in Modern Music

Author: Paul Sanden
Publisher: Routledge
ISBN: 1136155287
Category : Music
Languages : en
Pages : 222

Book Description
This study investigates the idea and practice of liveness in modern music. Understanding what makes music live in an ever-changing musical and technological terrain is one of the more complex and timely challenges facing scholars of current music, where liveness is typically understood to represent performance and to stand in opposition to recording, amplification, and other methods of electronically mediating music. The book argues that liveness itself emerges from dynamic tensions inherent in mediated musical contexts—tensions between music as an acoustic human utterance, and musical sound as something produced or altered by machines. Sanden analyzes liveness in mediatized music (music for which electronic mediation plays an intrinsically defining role), exploring the role this concept plays in defining musical meaning. In discussions of music from both popular and classical traditions, Sanden demonstrates how liveness is performed by acts of human expression in productive tension with the electronic machines involved in making this music, whether on stage or on recording. Liveness is not a fixed ontological state that exists in the absence of electronic mediation, but rather a dynamically performed assertion of human presence within a technological network of communication. This book provides new insights into how the ideas of performance and liveness continue to permeate the perception and reception of even highly mediatized music within a society so deeply invested, on every level, with the use of electronic technologies.