Representing groove: Rhythmic structure in interactive music performance

1997 ◽  
Vol 102 (5) ◽  
pp. 3182-3182
Author(s):  
Vijay Iyer ◽  
Jeff Bilmes ◽  
Matt Wright ◽  
David Wessel
Keyword(s):  
Music Performance ◽  
Rhythmic Structure ◽  
Interactive Music

A Multimodal System for Gesture Recognition in Interactive Music Performance

2009 ◽  
Vol 33 (4) ◽  
pp. 69-82 ◽  
Author(s):  
Dan Overholt ◽  
John Thompson ◽  
Lance Putnam ◽  
Bo Bell ◽  
Jim Kleban ◽  
...  
Keyword(s):  
Gesture Recognition ◽  
Music Performance ◽  
Interactive Music ◽  
Multimodal System

scholarly journals IS THERE A PERCEPTION-BASED ALTERNATIVE TO KINEMATIC MODELS OFTEMPO RUBATO?

2005 ◽  
Vol 23 (1) ◽  
pp. 79-85 ◽  
Author(s):  
HENKJAN HONING
Keyword(s):  
Computer Simulations ◽  
Real World ◽  
Music Performance ◽  
Rhythm Perception ◽  
Rhythmic Structure ◽  
Physical Motion ◽  
Temporal Factors ◽  
Kinematic Models ◽  
Explicit Relation ◽  
Kinematic Approach

THE RELATION BETWEEN MUSIC and motion has been a topic of much theoretical and empirical research. An important contribution is made by a family of computational theories, so-called kinematic models, that propose an explicit relation between the laws of physical motion in the real world and expressive timing in music performance. However, kinematic models predict that expressive timing is independent of (a) the number of events, (b) the rhythmic structure, and (c) the overall tempo of the performance. These factors have no effect on the predicted shape of a ritardando. Computer simulations of a number of rhythm perception models show, however, a large effect of these structural and temporal factors. They are therefore proposed as a perception-based alternative to the kinematic approach.

Interactivity for Mobile Music-Making

2009 ◽  
Vol 14 (2) ◽  
pp. 197-207 ◽  
Author(s):  
Georg Essl ◽  
Michael Rohs
Keyword(s):  
Theoretical Analysis ◽  
Mobile Phones ◽  
Design Space ◽  
Music Performance ◽  
Live Performance ◽  
Interactive Music ◽  
Interactive Performance ◽  
Music Making ◽  
Mobile Music

Mobile phones offer an attractive platform for interactive music performance. We provide a theoretical analysis of the sensor capabilities via a design space and show concrete examples of how different sensors can facilitate interactive performance on these devices. These sensors include cameras, microphones, accelerometers, magnetometers and multitouch screens. The interactivity through sensors in turn informs aspects of live performance as well as composition though persistence, scoring, and mapping to musical notes or abstract sounds.

scholarly journals Brain-Computer Music Interface for Music Expression

2020 ◽  
pp. 86-88
Author(s):  
Rafael Ramirez ◽  
Sergio Giraldo ◽  
Zacharias Vamvakousis
Keyword(s):  
Real Time ◽  
Emotional State ◽  
Music Performance ◽  
Computer Interface ◽  
Music Listening ◽  
Time System ◽  
Real Time System ◽  
Interactive Music ◽  
Eeg Data ◽  
Performance System

Active music listening is a way of listening to music through active interactions. In this paper we present an expressive brain-computer interactive music system for active music listening, which allows listeners to manipulate expressive parameters in music performances using their emotional state, as detected by a brain-computer interface. The proposed system is divided in two parts: a real-time system able to detect listeners’ emotional state from their EEG data, and a real-time expressive music performance system capable of adapting the expressive parameters of music based on the detected listeners’ emotion. We comment on an application of our system as a music neurofeedback system to alleviate depression in elderly people.

The Serial Collaborator: A Meta-Pianist for Real-Time Tonal and Non-Tonal Music Generation

Leonardo ◽  
2014 ◽  
Vol 47 (3) ◽  
pp. 260-261
Author(s):  
Roger T. Dean
Keyword(s):  
Real Time ◽  
Music Performance ◽  
Tonal Music ◽  
Interactive Music ◽  
Sequence Generation ◽  
Serial Music ◽  
Keyboard Music ◽  
Music Generation ◽  
Sequence Transformations

Serial music, which is mainly non-tonal, superimposes compositional freedom onto an unusually rigorous process of pitch-sequence transformations based on ‘tone rows’: a row is usually a sequence of notes using each of the 12 chromatic pitches once. Compositional freedom comprises forming chords from the sequences, and in multi-strand music, also in simultaneously presenting different segments of pitch-sequences. The present project coded a real-time serial music composer for automatic or interactive music performance. This Serial Keyboardist Collaborator can perform keyboard music which is impossible for a human to realize. Surprisingly, it was also useful in making more tonal music based on the same rigorous pitch-sequence generation.

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