GHS: A Performance System of Grid Computing

2005 ◽  
Author(s):  
Xian-He Sun ◽  
Ming Wu
Keyword(s):  
Grid Computing ◽  
Performance System ◽  
A Performance

Modernising musical works involving Yamaha DX-based synthesis: a case study

2006 ◽  
Vol 11 (3) ◽  
pp. 221-227 ◽  
Author(s):  
JAMIE BULLOCK ◽  
LAMBERTO COCCIOLI
Keyword(s):  
European Commission ◽  
Live Electronics ◽  
New Approach ◽  
Live Music ◽  
Musical Works ◽  
Performance System ◽  
And Performance ◽  
A Performance

In this article we describe a new approach to performing musical works that use Yamaha DX7-based synthesis. We also present an implementation of this approach in a performance system for Madonna of Winter and Spring by Jonathan Harvey. The Integra Project, ‘A European Composition and Performance Environment for Sharing Live Music Technologies’ (a three year co-operation agreement part financed by the European Commission, ref. 2005-849), is introduced as framework for reducing the difficulties with modernising and preserving works that use live electronics.

This is not a C#: What My Computer Means

2008 ◽  
Vol 13 (3) ◽  
pp. 217-224
Author(s):  
Daniel Iglesia
Keyword(s):  
User Experience ◽  
Technological Systems ◽  
Artistic Value ◽  
Performance System ◽  
The Creation ◽  
Modes Of Thought ◽  
A Performance

AbstractComputers contain layers of abstraction between the raw audio bits and the user experience; each layer requires a method of traversal that reflects the attitudes of the programmer/composer/performer. The navigation of this hierarchy results in modes of thought that affect notions of how musical signifiers can be subverted and redefined. This explosion of individualistic technological systems defines meaning for new sonic results, devoid of traditional communicative signs; the manipulations within these systems directly assail the traditional signification of artistic value and of institutional canonisation. A few pieces and scenarios are presented as examples. Additionally presented are two opposing tendencies (with some empirical manifestations) in the creation of live performances systems, here labelled as extensional and algorithmic. The article posits that a performance system cannot amplify human expression without necessarily having either predefined processes or predefined limitations, and that the choice in this design is reflected in the composer's attitude towards layer-traversal.

Ear as Instrument

2012 ◽  
Vol 22 ◽  
pp. 61-62
Author(s):  
Christopher Haworth
Keyword(s):  
Acoustic Emission ◽  
Computer Music ◽  
Distortion Product ◽  
Performance System ◽  
Correlation Number ◽  
A Performance

The desire for instrumental qualities in computer music often leads the artist to a process of “synthetic limitation,” wherein constraint is designed into a performance system, permitting creation only within prescribed limits. These practices can emerge as a consequence of the sheer dearth of possibilities available to the digital artist: as though the path to new sounds and ever more intimate control leads ultimately to a retreat. The author's response to this perennial dilemma has been to try to discover instrumental limitations within the ear itself. He describes an “ear-as-instrument” approach to the composition of Correlation Number One (CNO), an eight-channel computer music work he created in 2010 that uses a self-authored form of Distortion Product Oto-Acoustic Emission (DPOAE) synthesis.

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