Titlebook: Computer Music Modeling and Retrieval. Genesis of Meaning in Sound and Music; 5th International Sy Sølvi Ystad,Richard Kronland-Martinet,Kr

手段

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 electronic

maudtin

leniency

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 paper

Regurgitation

Lecture Notes in Computer Sciencehttp://image.papertrans.cn/c/image/233631.jpg

桉树

Computer Music Modeling and Retrieval. Genesis of Meaning in Sound and Music978-3-642-02518-1Series ISSN 0302-9743 Series E-ISSN 1611-3349

OUTRE

0302-9743 Overview: 978-3-642-02517-4978-3-642-02518-1Series ISSN 0302-9743 Series E-ISSN 1611-3349

两栖动物

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

978-3-642-02517-4Springer-Verlag Berlin Heidelberg 2009

unstable-angina

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

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