手段 发表于 2025-3-23 10:47:46
Amplified Breath – (Dis)Embodied Habitat: Exploring Sonic Interfaces of Performance, Electronics, Spcultural imprints. The performative impacts of technological interventions and the new responses thus stimulated in performance practice, invite rigorous exploration and reflection. In this paper I aim to articulate my personal responses to spatialization technologies and live interactive electronicmaudtin 发表于 2025-3-23 14:07:46
http://reply.papertrans.cn/24/2337/233631/233631_12.pngleniency 发表于 2025-3-23 21:21:43
Strategies and Methods for Creating Symbolic Electroacoustic Scores in ENPer Wehinger–originally created for György Ligeti’s electronic piece .–as reference material. Our objective is to recreate a small excerpt form the score using an ENP tool called Expression Designer (ED). ED allows the user to create new graphical expressions with programmable behavior. In this paperRegurgitation 发表于 2025-3-24 00:03:07
Lecture Notes in Computer Sciencehttp://image.papertrans.cn/c/image/233631.jpg桉树 发表于 2025-3-24 03:08:48
Computer Music Modeling and Retrieval. Genesis of Meaning in Sound and Music978-3-642-02518-1Series ISSN 0302-9743 Series E-ISSN 1611-3349OUTRE 发表于 2025-3-24 07:28:06
0302-9743 Overview: 978-3-642-02517-4978-3-642-02518-1Series ISSN 0302-9743 Series E-ISSN 1611-3349两栖动物 发表于 2025-3-24 13:24:49
https://doi.org/10.1007/978-3-642-02518-1Computer Music; KSQuant; acoustics; ear models; emotional tags; harmony; markov models; modeling; musical an有机体 发表于 2025-3-24 16:05:50
978-3-642-02517-4Springer-Verlag Berlin Heidelberg 2009unstable-angina 发表于 2025-3-24 22:07:35
https://doi.org/10.1057/9781137499356ity under interpretation. Placing these two poles on a continuum of ontological ., I extend Davies’s ideas to shed light on issues concerning meaning in live electroacoustic music. I demonstrate that algorithmic and interactive elements lend an extra dimension to the existence of the musical work an伟大 发表于 2025-3-25 01:23:55
https://doi.org/10.1057/9781137499356sign time. In this paper two mapping strategies are presented, adressing this problem. Based on dynamic and random many-to-many mappings between control space and synthesis space, they erase the line between sound editing and synthesizer performance, with an emphasis on free improvisation. One strat