Reflections on aspects of music interactivity in performance situations

Music interactivity is a sub-field of human-computer interaction studies. Interactive situations have different degree of structural openness and musical “ludicity” or playfulness. Discussing music seems inherently impossible since it is essentially a non-verbal activity. Music can produce an unders...

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Main Author: Lindborg, PerMagnus
Other Authors: School of Art, Design and Media
Format: Article
Language:English
Published: 2011
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Online Access:https://hdl.handle.net/10356/90869
http://hdl.handle.net/10220/6752
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Institution: Nanyang Technological University
Language: English
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spelling sg-ntu-dr.10356-908692019-12-06T17:55:34Z Reflections on aspects of music interactivity in performance situations Lindborg, PerMagnus School of Art, Design and Media DRNTU::Visual arts and music::Music DRNTU::Visual arts and music::Music::Compositions Music interactivity is a sub-field of human-computer interaction studies. Interactive situations have different degree of structural openness and musical “ludicity” or playfulness. Discussing music seems inherently impossible since it is essentially a non-verbal activity. Music can produce an understanding (or at least prepare for an understanding) of creativity that is of an order neither verbal nor written. A human listener might perceive beauty to be of this kind in a particular music. But can machine-generated music be considered creative and if so, wherein lies the creativity? What are the conceptual limits of notions such as instrument, computer and machine? A work of interactive music might be more pertinently described by the processes involved than by one or several instanciations. While humans spontaneously deal with multiple process descriptions (verbal, visual, kinetic…) and are very good at synthesising, the computer is limited to handling processes describable in a formal language such as computer code. But if the code can be considered a score, does it not make a musician out of the computer? As tools for creative stimulus, composers have created musical systems employing artificial intelligence in different forms since the dawn of computer music. A large part of music interactivity research concerns interface design, which involves ergonomics and traditional instrument maker concepts. I will show examples of how I work with interactivity in my compositions, from straight-forward applications as composition tools to more complex artistic work. Accepted version 2011-03-08T02:51:00Z 2019-12-06T17:55:34Z 2011-03-08T02:51:00Z 2019-12-06T17:55:34Z 2008 2008 Journal Article Lindborg, P. (2008). Reflections on aspects of music interactivity in performance situations. eContact, 1-10. https://hdl.handle.net/10356/90869 http://hdl.handle.net/10220/6752 142450 en eContact 10 p. application/pdf application/octet-stream
institution Nanyang Technological University
building NTU Library
country Singapore
collection DR-NTU
language English
topic DRNTU::Visual arts and music::Music
DRNTU::Visual arts and music::Music::Compositions
spellingShingle DRNTU::Visual arts and music::Music
DRNTU::Visual arts and music::Music::Compositions
Lindborg, PerMagnus
Reflections on aspects of music interactivity in performance situations
description Music interactivity is a sub-field of human-computer interaction studies. Interactive situations have different degree of structural openness and musical “ludicity” or playfulness. Discussing music seems inherently impossible since it is essentially a non-verbal activity. Music can produce an understanding (or at least prepare for an understanding) of creativity that is of an order neither verbal nor written. A human listener might perceive beauty to be of this kind in a particular music. But can machine-generated music be considered creative and if so, wherein lies the creativity? What are the conceptual limits of notions such as instrument, computer and machine? A work of interactive music might be more pertinently described by the processes involved than by one or several instanciations. While humans spontaneously deal with multiple process descriptions (verbal, visual, kinetic…) and are very good at synthesising, the computer is limited to handling processes describable in a formal language such as computer code. But if the code can be considered a score, does it not make a musician out of the computer? As tools for creative stimulus, composers have created musical systems employing artificial intelligence in different forms since the dawn of computer music. A large part of music interactivity research concerns interface design, which involves ergonomics and traditional instrument maker concepts. I will show examples of how I work with interactivity in my compositions, from straight-forward applications as composition tools to more complex artistic work.
author2 School of Art, Design and Media
author_facet School of Art, Design and Media
Lindborg, PerMagnus
format Article
author Lindborg, PerMagnus
author_sort Lindborg, PerMagnus
title Reflections on aspects of music interactivity in performance situations
title_short Reflections on aspects of music interactivity in performance situations
title_full Reflections on aspects of music interactivity in performance situations
title_fullStr Reflections on aspects of music interactivity in performance situations
title_full_unstemmed Reflections on aspects of music interactivity in performance situations
title_sort reflections on aspects of music interactivity in performance situations
publishDate 2011
url https://hdl.handle.net/10356/90869
http://hdl.handle.net/10220/6752
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