Access the full text.
Sign up today, get DeepDyve free for 14 days.
See
(2000)
Grapefruit: A Book of Instructions and Drawings
(2004)
The Guidonian Hand,
J. Martyn (2013)
The Medieval Craft of Memory: an Anthology of Texts and Pictures (review)Parergon, 20
Research and experimental practice is already strong in the field of real-time composition; see, for example
(2009)
Making Music with Live Computer Code,
Alva Noë (2009)
Out of Our Heads: Why You Are Not Your Brain, and Other Lessons from the Biology of Consciousness
A. Clark (2008)
Supersizing the Mind
Shlomi Sher (2012)
Out of Our Heads: Why You Are Not Your Brain, and Other Lessons from the Biology of ConsciousnessPhilosophical Psychology, 25
Thor Magnusson (2010)
ixi lang: A Constraint System for Live Coding
(1967)
A History of Mechanical Instruments,” Music Educators Journal 54, No
C. Roads (1996)
The Computer Music Tutorial
(1963)
Examples of such open work include Cage's Fontana Mix (1958), Stockhausen's Plus-Minus (1963), Pouissieur's Scambi (1957) and Cardew's Treatise
C. Fowler (1967)
The Museum of Music: A History of Mechanical InstrumentsMusic Educators Journal, 54
Alex McLean, Dave Griffiths, Nick Collins, Geraint Wiggins (2010)
Visualisation of live code
(1969)
J. Cage, Notations
I. Xenakis, Sharon Kanach (1971)
Formalized Music: Thought and Mathematics in Composition
N. Collins (2011)
Live Coding of ConsequenceLeonardo, 44
N. Mirzoeff (2023)
An Introduction to Visual Culture
The author discusses live coding as a new path in the evolution of the musical score. Live-coding practice accentuates the score, and whilst it is the perfect vehicle for the performance of algorithmic music it also transforms the compositional process itself into a live event. As a continuation of 20th-century artistic developments of the musical score, live-coding systems often embrace graphical elements and language syntaxes foreign to standard programming languages. The author presents live coding as a highly technologized artistic practice, shedding light on how non-linearity, play and generativity will become prominent in future creative media productions.
Leonardo Music Journal – MIT Press
Published: Dec 1, 2011
Read and print from thousands of top scholarly journals.
Already have an account? Log in
Bookmark this article. You can see your Bookmarks on your DeepDyve Library.
To save an article, log in first, or sign up for a DeepDyve account if you don’t already have one.
Copy and paste the desired citation format or use the link below to download a file formatted for EndNote
Access the full text.
Sign up today, get DeepDyve free for 14 days.
All DeepDyve websites use cookies to improve your online experience. They were placed on your computer when you launched this website. You can change your cookie settings through your browser.