Refereed Papers 2011-12
Musical parameter manipulation possibilities of a homemade reacTable.
Herrington, J., & Vickery, L.
Australasian Computer Music Conference 2011, School of Music, University of Auckland, Auckland
Musical parameter control is an important part of live interactive electronic computer music. Due to the increasing availability and affordability of music technology, including powerful computer software, advances in this area are being made to enable easier and more effective parameter control.
The purpose of this paper is to investigate and discuss the musical parameter manipulation possibilities of a homemade instrument with a tangible tabletop interface based on the technology of the reacTable. The design and construction of the instrument is documented, including the physical build as well as the software component of the system, which incorporates the computer software ReacTIVision, Max/MSP and Reason. The core of the paper discusses parameter manipulation abilities by way of a comparison between two controllers: the homemade instrument and the Korg nanoKONTROL. Mapping strategies – in an interactive music sense – are explored in detail, while the execution and capabilities of parameter control by use of the physical interface devices of the two controllers are assessed.
Screening the Score
Audible Designs, PICA PRESS, 2011
Beginning in the 1950s, a range of new paradigms emerged for the presentation of musical notation to live performers. A concerted effort was made by some composers to liberate the score from the manacles of left-right/up-down orientation. Such experiments might be said to exemplify remnants of old artistic media “pushing against their own boundaries”4 (Žižek 2000 p. 39) in an attempt to achieve novel conceptual outcomes. Significant obstacles to the development of “real mobility” in notated music remained insoluble in the paper medium. The space-inefficient nature of the paper-score imposed an inverse relationship between the ease of mobility and the amount of information that could be provided for performer(s).
Visualising the score: Screening scores in realtime performance.
Hope, C., & Vickery, L.
IM: Interactive Media, 7, 2011
This paper examines the screening of music notations and the impact of this configuration in a live music performance situation. Before the development of graphical computing, Traditional music notation, was rarely shared with the anyone other than other musicians, composers and analysts; let alone displayed during the performance. However, some composers experiment with scores and their visual presence in performance by employing automated ̳score-players‘ or actual films specifically developed to be interpreted by musicians. This paper raises some questions and possibilities for this new way of sharing musical qualities of composition and performance.