Generative Music and Laptop Performance

  title={Generative Music and Laptop Performance},
  author={N. M. Collins},
  journal={Contemporary Music Review},
  pages={67 - 79}
  • N. Collins
  • Published 1 December 2003
  • Art
  • Contemporary Music Review
Live computer music is the perfect medium for generative music systems, for non-linear compositional constructions and for interactive manipulation of sound processing. Unfortunately, much of the complexity of these real-time systems is lost on a potential audience, excepting those few connoisseurs who sneak round the back to check the laptop screen. An artist using powerful software like SuperCollider or PD cannot be readily distinguished from someone checking their e-mail whilst DJ-ing with… 

The Analysis of Generative Music Programs

This article shall focus in particular on the case of minimal run-time human intervention, where a program allows the creation of a musical variation, typically unravelling in realtime, on demand, with the capacity to vary their output with each run.

A Software System for Laptop Performance and Improvisation

This thesis project presents an alternative software interface that aims to bring a sense of active creation to laptop performance, and prevents the use of prepared control sequences and allows the live assembly of generative musical processes.

Computational composition strategies in audiovisual laptop performance

This thesis describes four software systems for real time multimodal improvisation and composition in which a number of computational strategies for audiovisual laptop performances is explored and which were used in creation of a portfolio of accompanying audioviisual compositions.

Controlling Live Generative Electronic Music with Deviate

An approach is described which frees the user from determining note-level output while allowing control to be maintained over larger structural details, focusing specifically on the melodic aspect of this system.

The Cambridge Companion to Electronic Music

This book brings together some novel threads through this scene, from the viewpoint of researchers at the forefront of the sonic explorations empowered by electronic technology, and uncover some hitherto less publicised corners of worldwide movements.

Live electronic music

Since the 1930s composers have been using this property of electronics to produce not just new sounds but fundamentally new approaches to organising the sonic world, enabling new and volatile connections.

Score instruments : a new paradigm of musical instruments to guide musical wonderers

Advancements in technology have made musical instruments, especially electronic instruments, accessible to the masses. As a result, music-making has become more widespread and convenient. However,

Show Them My Screen: Mirroring a Laptop Screen as an Expressive and Communicative Means in Computer Music

This paper introduces and discusses the author’s computer music practice, in which a performer actively considers screen mirroring as an essential part of the performance, beyond visualization of music.

Different Strokes: a Prototype Software System for Laptop Performance and Improvisation

This paper presents progress in the design of a new software interface for laptop performance and improvisation that requires that the user create all of the control sequences on-stage.

Texture: Visual Notation for Live Coding of Pattern

This work examines the boundary between human perception and language to find high-level understanding of issues in the design of live coding languages, which is practically applied in the introduction of Texture, a visual programming language for improvising music.



The Computer Music Tutorial

Something Digital

1 Can computers make music? Suppose we buy a computer with a big disk, a modern programming environment , an audio-quality DAC, or two, or eight, and ampliiers and speakers. In theory we can now make

A Protocol for Audiovisual Cutting

We explore the extension of an algorithmic composition system for live audio cutting to the realm of video, through a protocol for message passing between separate audio and video applications. The

Infinite Length Pieces: A User's Guide

Issues surrounding the production of infinite length pieces are expounded and conjectured and some existing Very Long Pieces are singled out.

Creating and Exploring Huge Parameter Spaces: Interactive Evolution as a Tool for Sound Generation

In this paper, a program is presented that applies interactive evolution to sound generation, i.e., preferred individuals are repeatedly selected from a population of genetically bred sound

Rhythm and Timing in Music

Continued Evolution of the SuperCollider Real Time Synthesis Environment

SuperCollider version 2.0 (SC2) is a completerewrite of the system to make it more expressive, more efficient, andeasier to use.

Automated Composition in Retrospect: 1956–1986

This article chronicles computer programs for automated musical composition over the last 30 years, providing musical examples from 11 computer-composed works. The author begins by focusing on early

Relating Superhuman Virtuosity to Human Performance

An exciting field of compositional endeavour is outlined in this paper. We focus upon transitions from human to beyond human performance ability founded in psychoacoustic measurement data. The

The BBCut Library

To facilitate work on automated breakbeat cutting it was expedient to establish a general framework promoting better code reusability, a publicly released collection of SuperCollider classes and help files called the BBCut Library, which is based upon a specific hierarchy of phrase/block/cut sufficient to implement a wide variety of cut procedures.