Hostname: page-component-78c5997874-xbtfd Total loading time: 0 Render date: 2024-11-06T02:43:39.416Z Has data issue: false hasContentIssue false

Understanding Interactive Systems

Published online by Cambridge University Press:  29 June 2009

Jon Drummond*
Affiliation:
MARCS Auditory Laboratories/VIPRE, University of Western Sydney, Penrith South DC, NSW, 1797, Australia
*
E-mail: [email protected] URL: www.jondrummond.com.au

Abstract

This article examines differing approaches to the definition, classification and modelling of interactive music systems, drawing together both historical and contemporary practice. Concepts of shared control, collaboration and conversation metaphors, mapping, gestural control, system responsiveness and separation of interface from sound generator are discussed. The article explores the potential of interactive systems to facilitate the creation of dynamic compositional sonic architectures through performance and improvisation.

Type
Articles
Copyright
Copyright © Cambridge University Press 2009

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Berdahl, E., Steiner, H. Oldham, C. 2008. Practical Hardware and Algorithms for Creating Haptic Musical Instruments. Proceedings of the 2008 International Conference on New Interfaces for Musical Expression (NIME–08). Genova, Italy, 61–6.Google Scholar
Birnbaum, D., Fiebrink, R., Malloch, J. Wanderley, M. M. 2005. Towards a Dimension Space for Musical Devices. Proceedings of the 2005 International Conference on New Interfaces for Musical Expression (NIME–05). Vancouver, Canada, 192–5.Google Scholar
Blaine, T. 2006. New Music for the Masses. Adobe Design Center, Think Tank Online. http://www.adobe.com/designcenter/thinktank/ttap_music (accessed 6 February 2009).Google Scholar
Blaine, T. Fels, S. 2003. Contexts of Collaborative Musical Experiences. Proceedings of the 2003 Conference on New Interfaces for Musical Expression (NIME–03). Montreal, Canada.Google Scholar
Blaine, T. Perkis, T. 2000. Jam-O-Drum, a Study in Interaction Design. Proceedings of the 2000 Association for Computing Machinery Conference on Designing Interactive Systems (ACM DIS 2000). New York: ACM Press.Google Scholar
Bongers, B. 1998. An Interview with Sensorband. Computer Music Journal 22(1): 1324.CrossRefGoogle Scholar
Bongers, B. 1999. Exploring Novel Ways of Interaction in Musical Performance. Proceedings of the 1999 Creativity & Cognition Conference. Loughborough, UK, 76–81.Google Scholar
Bongers, B. 2000. Physical Interfaces in the Electronic Arts – Interaction Theory and Interfacing Techniques for Real-Time Performance. In M. M. Wanderley and M. Battier (eds.) Trends in Gestural Control of Music. Paris: IRCAM–Centre Pompidou.Google Scholar
Brown, C. Bischoff, J. 2002. Indigenous to the Net: Early Network Music Bands in the San Francisco Bay Area. http://crossfade.walkerart.org/brownbischoff/IndigenoustotheNetPrint.html (accessed 6 February 09).Google Scholar
Chadabe, J. 1997. Electric Sound: The Past and Promise of Electronic Music. Upper Saddle River, NJ: Prentice Hall.Google Scholar
Chadabe, J. 2005. The Meaning of Interaction, a Public Talk Given at the Workshop in Interactive Systems in Performance (Wisp). Proceedings of the 2005 HCSNet Conference. Macquarie University, Sydney, Australia.Google Scholar
Dannenburg, R. B. 1984. An On-Line Algorithm for Real-Time AccompanimentProceedings of the 1984 International Computer Music Conference (ICMC–84). Paris, France: International Computer Music Association, 193198.Google Scholar
Dean, R. T. 2003. Hyperimprovisation: Computer-Interactive Sound Improvisations. Middleton, WI: A-R Editions.Google Scholar
Eigenfeldt, A. Kapur, A. 2008. An Agent-based System for Robotic Musical Performance. Proceedings of the 2008 International Conference on New Interfaces for Musical Expression (NIME–08). Genova, Italy, 144–9.Google Scholar
Goina, M. Polotti, P. 2008. Elementary Gestalts for Gesture Sonification. Proceedings of the 2008 International Conference on New Interfaces for Musical Expression (NIME–08). Genova, Italy, 150–3.Google Scholar
Hunt, A. Kirk, R. 2000. Mapping Strategies for Musical Performance. In M. M. Wanderley and M. Battier (eds.) Trends in Gestural Control of Music. Paris: IRCAM–Centre Pompidou.Google Scholar
Jordà, S. 2005. Digital Lutherie: Crafting Musical Computers for New Musics’ Performance and Improvisation. PhD dissertaion, Universitat Pompeu Fabra, Barcelona.Google Scholar
Kaltenbrunner, M., Jordà, S., Geiger, G. Alonso, M. 2006. The Reactable*: A Collaborative Musical Instrument. Proceedings of the 2006 Workshop on ‘Tangible Interaction in Collaborative Environments’ (TICE), at the 15th International IEEE Workshops on Enabling Technologies (WETICE 2006). Manchester, UK.CrossRefGoogle Scholar
Lazzetta, F. 2000. Meaning in Musical Gesture. In M. M. Wanderley and M. Battier (eds.) Trends in Gestural Control of Music. Paris: IRCAM–Centre Pompidou.Google Scholar
Lewis, G. E. 2000. Too Many Notes: Computers, Complexity and Culture in Voyager. Leonardo Music Journal 10: 3339.CrossRefGoogle Scholar
Lippe, C. 1993. A Composition for Clarinet and Real-Time Signal Processing: Using Max on the IRCAM Signal Processing Workstation. Proceedings of the 1993 10th Italian Colloquium on Computer Music. Milan, 428–32.Google Scholar
Machover, T. Chung, J. 1989. Hyperinstruments: Musically Intelligent and Interactive Performance and Creativity Systems. Proceedings of the 1989 International Computer Music Conference (ICMC89). San Francisco: International Computer Music Association, 186187.Google Scholar
Miranda, E. R. Wanderley, M. 2006. New Digital Musical Instruments: Control and Interaction Beyond the Keyboard. Middleton, WI: A-R Editions.Google Scholar
Mumma, G. 1967. Creative Aspects of Live Electronic Music Technology. http://www.brainwashed.com/mumma/creative.html (accessed 6 February 09).Google Scholar
Orio, N., Lemouton, S. Schwarz, D. 2003. Score Following: State of the Art and New Developments. Proceedings of the 2003 Conference on New Interfaces for Musical Expression (NIME–03). Montreal, Canada.Google Scholar
Paine, G. 2002. Interactivity, Where to from Here? Organised Sound 7(3): 295304.CrossRefGoogle Scholar
Paine, G. 2007. Sonic Immersion: Interactive Engagement in Real-Time Immersive Environments. Scan: Journal of Media Arts Culture 4(1). http://scan.net.au/scan/journal/display.php?journal_id=90 (accessed 6 February 2009).Google Scholar
Patten, J., Recht, B. Ishii, H. 2002. Audiopad: A Tag-Based Interface for Musical Performance. Proceedings of the 2002 International Conference on New Musical Interfaces for Music Expression (NIME–02). Dublin, Ireland.Google Scholar
Perkis, T. 1999. The Hub, an Article Written for Electronic Musician Magazine. http://www.perkis.com/wpc/w_hubem.html (accessed 6 February 2009).Google Scholar
Piringer, J. 2001. Elektronische Musik und Interaktivität: Prinzipien, Konzepte, Anwendungen. Master’s thesis, Technical University of Vienna.Google Scholar
Pressing, J. 1990. Cybernetic Issues in Interactive Performance Systems. Computer Music Journal 14(2): 1225.Google Scholar
Puckette, M. Lippe, C. 1992. Score Following in Practice. Proceedings of the 1992 International Computer Music Conference (ICMC92). San Francisco: International Computer Music Association, 182185.Google Scholar
Richards, K. 2006. Report: Life after Wartime: A Suite of Multimedia Artworks. Canadian Journal of Communication 31(2): 447459.Google Scholar
Riddell, A. 2005. Hypersense Complex: An Interactive Ensemble. Proceedings of the 2005 Australasian Computer Music Conference. Queensland University of Technology, Brisbane: Australasian Computer Music Association, 123127.Google Scholar
Rowe, R. 1993. Interactive Music Systems: Machine Listening and Composing. Cambridge, MA: The MIT Press.Google Scholar
Schiemer, G. 1999. Improvising Machines: Spectral Dance and Token Objects. Leonardo Music Journal 9(1): 107114.CrossRefGoogle Scholar
Spiegel, L. 1987. A Short History of Intelligent Instruments. Computer Music Journal 11(3): 79.Google Scholar
Spiegel, L. 1992. Performing with Active Instruments – an Alternative to a Standard Taxonomy for Electronic and Computer Instruments. Computer Music Journal 16(3): 56.Google Scholar
Stelarc 1996. Stelarc. http://www.stelarc.va.com.au (accessed 6 February 2009).Google Scholar
Tarabella, L. 2004. Handel, a Free-Hands Gesture Recognition System. Proceedings of the 2004 Second International Symposium Computer Music Modeling and Retrieval (CMMR 2004). Esbjerg, Denmark: Springer Berlin/Heidelberg, 139148.Google Scholar
Vercoe, B. 1984. The Synthetic Performer in the Context of Live Performance. Proceedings of the 1984 International Computer Music Conference (ICMC84). Paris, France: International Computer Music Association, 199200.Google Scholar
Waisvisz, M. 1985. The Hands, a Set of Remote Midi-Controllers. Proceedings of the 1985 International Computer Music Conference. San Francisco, CA: International Computer Music Association, 8689.Google Scholar
Wanderley, M. M. 2001. Gestural Control of Music. Proceedings of the 2001 International Workshop – Human Supervision and Control in Engineering and Music. Kassel, Germany.Google Scholar
Winkler, T. 1998. Composing Interactive Music: Techniques and Ideas Using Max. Cambridge, MA: The MIT Press.Google Scholar
Wright, M., Freed, A. Momeni, A. 2003. Open Sound Control: State of the Art 2003. Proceedings of the 2003 International Conference on New Interfaces for Musical Expression (NIME–03). Montreal, Quebec, Canada.Google Scholar