Access the full text.
Sign up today, get DeepDyve free for 14 days.
M. Malt, E. Jourdan (2011)
Real-Time Uses of Low Level Sound Descriptors as Event Detection FunctionsJournal of New Music Research, 40
George Lewis (2000)
Too Many Notes: Computers, Complexity and Culture in VoyagerLeonardo Music Journal
N. Collins (2007)
Towards autonomous agents for live computer music : realtime machine listening and interactive music systems
Yi-Hsuan Yang, C. Liu, Homer Chen (2006)
Music emotion classification: a fuzzy approach
W. Hsu, Marc Sosnick-Pérez (2009)
Evaluating Interactive Music Systems: An HCI Approach
M. Yee-King (2009)
An Automated Music Improviser Using a Genetic Algorithm Driven Synthesis Engine
D. Casal (2008)
Time after Time : Short-circuiting the Emotional Distance between Algorithm and Human Improvisors, 2008
N. Collins (2008)
Reinforcement Learning for Live Musical Agents, 2008
P. Vassilakis (2005)
Auditory roughness as means of musical expression, 12
Lie Lu, Dan Liu, HongJiang Zhang (2006)
Automatic mood detection and tracking of music audio signalsIEEE Transactions on Audio, Speech, and Language Processing, 14
R. Dean (2011)
The Oxford Handbook of Computer Music
W. Hsu (2006)
Managing Gesture and Timbre for Analysis and Instrument Control in an Interactive Environment
W. Marsden (2012)
I and J
T. Jehan, Bernd Schöner (2001)
An Audio-Driven Perceptually Meaningful Timbre Synthesizer, 2001
T. Blackwell, Michael Young (2004)
Self-organised musicOrganised Sound, 9
M. Casey (2011)
Soundspotting: A New Kind of Process?
Thomas Ciufo (2003)
Design Concepts and Control Strategies for Interactive Improvisational Music Systems
Michael Young (2008)
Nn Music: improvising with a 'Living' Computer
D. Nort, J. Braasch, Pauline Oliveros (2009)
A SYSTEM FOR MUSICAL IMPROVISATION COMBINING SONIC GESTURE RECOGNITION AND GENETIC ALGORITHMS
Thomas Ciufo (2005)
Beginner's Mind: an Environment for Sonic Improvisation, 2005
M. Webb (1963)
Breaking the sound barrier.The X-ray technician, 34
P. Lickiss, V. Mcgrath (1996)
BREAKING THE SOUND BARRIERChemistry in Britain, 32
W. Hsu (2008)
Two Approaches for Interaction Management in Timbre-Aware Improvisation Systems, 2008
S. Zanolla, F. Avanzini, S. Targon, A. Goetzen (2011)
Proceedings of Sound and Music Computing Conference
J. D'Escrivàn (2007)
Cambridge Companion to Electronic Music
N. Collins, Bob Sturm (2011)
Proceedings of the International Computer Music Conference
O. Bown, Sebastian Lexer (2006)
Continuous-Time Recurrent Neural Networks for Generative and Interactive Musical Performance
Earlier interactive improvisation systems have mostly worked with note-level musical events such as pitch, loudness and duration. Timbre is an integral component of the musical language of many improvisers; some recent systems use timbral information in a variety of ways to enhance interactivity. This article describes the timbre-aware ARHS improvisation system, designed in collaboration with saxophonist John Butcher, in the context of recent improvisation systems that incorporate timbral information. Common practices in audio feature extraction, performance state characterization and management, response synthesis and control of improvising agents are summarized and compared.
Leonardo Music Journal – MIT Press
Published: Dec 1, 2010
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.