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In this chapter Laurie Spiegel, a pioneer of algorithmic logic in music composition, considers various reasons to use algorithms, including their function as descriptors, generators and adjuncts to creative musical practises. Self-simulation (notably, of decision making processes) is juxtaposed against the sonification of external information and v...
form only given. In this virtual-reality art installation - a mathematical play space - the viewer-participant creates an immersive visual and sonic experience. It is based on the mathematical and physical simulation of over one million particles with momentum and elastic reflection in an environment with gravity. The final scene has a realistic re...
Over these very few decades we've seen electroacoustic music transform from being considered truly weird outsider stuff not admissible in any music school to so mainstream that electronic means of musical creation are more likely the default than the exception. So does the idea of "electroacoustic music" still have any meaning? Does a separate genr...
Hierarchical and other historically dominant models of perceived musical organisation are increasingly inapplicable to new musical processes and repertoire. The next major paradigm shift for music models, structures and concepts, perhaps comparable in importance to that in which polyphony gave way to homophony, may be a shift of emphasis from means...
Once upon a time there was a computer music system called GROOVE (Generating Realtime Operations On Voltage-controlled Equipment, Bell Telephone Laboratories, Murray Hill, New Jersey) which outputted in the realm of sound, and was a wonderful and still-unique tool for the composition thereof. At that time a then-young composer who was using GRO...
It is difficult to express how the experience of using electronics and computers in music making has changed over the past two decades, but there are important differences and we can learn by exploring them. Some qualities of both the group and private experiences of the early computer arts are gone now. Others have changed or are new. Though we've...
With regard to the the idea of a "meaningful taxonomy" of interactive computer-based methods of musical creation, it should be borne in mind that terms such as "intelligent instrument", "algorithmic composition", and "interactive composition program" came into being at a point in computer music history when the primary reason for such terminology w...
When people use a new technique, they are often unable at first to bring out its strengths and take advantage of its unique characteristics because they unwittingly limit the ways they use it to conform to their past experience. Our attempts to realize the musical potentials of microcomputers are often molded by concepts we have inherited from thre...