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A collaboration workflow from sound-based composition to performance of electroacoustic music using «Pure Data» as a framework.

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Abstract

This paper describes a workflow for composers, engineers and performers to collaborate, using Pure Data (PD) as a framework, towards the design of electroacoustic musical instruments intended for live performances of sound-based music. Furthermore, it presents some considerations about live performance and ideas of creating collaboration tools, possibly as PD GUI plugins.

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Article
In this paper, that is at various times provocative and speculative (for which I beg your indulgence), I outline the initial exploratory stages of a research exercise that looks towards exploring a particular corpus of electroacoustic music in terms of its function(s) and ultimately its value(s) - in both its individual and collective manifestations. This initial, small-scale exploration is based on responses solicited through questionnaires that were circulated amongst members of the electroacoustic community. For this paper, the focus is on 'sound-based music' a term introduced by Leigh Landy (see Landy, 2007) - this term is being used (in this case) in reference to works that can be considered part of the Musique Concrète and soundscape traditions, wherein recorded sound is the principal unit of composition, and manipulation of the recording medium is, for the most part a compositional necessity. To this end music that can be considered part of the elektronische Musik and similar music traditions is not being addressed here. Throughout this paper, where appropriate, 'sound-based music' has been used as an alternative to the term 'electroacoustic music'. Through my intention/reception (I/R) research (see Weale, 2006) I have explored the sound-based music listening experience, what listeners are hearing, identifying, and how they are interpreting particular types of sound-based works. I have explored the communicative relationship between the composer of an individual work and the audience; what it was about the particular work or the particular type of work that listeners found engaging (or not). In other words, the ways in which the work functioned in relation to the listeners' perception at the point of conscious interpretation. My current focus is on broadening the scope of the exploration to look at sound-based music as a cultural practice through the experiences of sound-based composers and listeners; exploring the broader socio-cultural resonances beyond the immediate responses to sounding material within a work. Where the I/R project focussed on the 'inexperienced' participant (those who had never engaged with sound-based music previously) and in 'listening only' mode. My current exploration looks to the experienced and expert participants, both composers and listeners. It should be noted that this paper represents the beginning of my journey along this particular route of discovery. It is not a summation of a completed journey by any stretch of the imagination; hence its provocative and speculative tone.
Exploring our relationships with sound-based music”, Music studies Network International conferenceTowards a new conceptual framework for digital musical instruments ?? ????????????????????? ??????????????????????
  • Rob Weale
  • Joseph Malloch
  • David Birnbaum
  • Elliot Sinyor
  • Marcelo M Wanderley
Rob Weale: “Exploring our relationships with sound-based music”, Music studies Network International conference 2008. [4]Joseph Malloch, David Birnbaum, Elliot Sinyor, Marcelo M. Wanderley: “Towards a new conceptual framework for digital musical instruments”, Proceedings of the 9th int. conference on digital audio effects, Montreal, Canada 2006. ?? ????????????????????? ??????????????????????
Potentialities of Meaning
  • Adam Basanta
Adam Basanta: "Potentialities of Meaning", Simon Fraser University essays 2008.
Towards a new conceptual framework for digital musical instruments
  • Joseph Malloch
  • David Birnbaum
  • Elliot Sinyor
  • Marcelo M Wanderley
Joseph Malloch, David Birnbaum, Elliot Sinyor, Marcelo M. Wanderley: "Towards a new conceptual framework for digital musical instruments", Proceedings of the 9th int. conference on digital audio effects, Montreal, Canada 2006.