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Real-Time Performance via User Interfaces to Musical Structures
| Content Provider | Semantic Scholar |
|---|---|
| Author | Pope, Stephen Travis |
| Copyright Year | 1993 |
| Abstract | This informal and subjective presentation will introduce and compare several software systems written by the myself and others for computer music composition and perfor- mance based on higher-level abstractions of musical data structures. I will then evaluate a few of the issues in real-time interaction with structural descriptions of musical data. The premise is that very interesting live-performance software environments could be based in existing technology for structural music description, but that much of the current real-time performance-oriented software for music is rather limited in that it supports only very low-level notions of musical structures.The examples will demonstrate various systems for graphical interaction with procedural, knowledge-based, hierarchical and/or stochastic music description systems that could be used for live performance. Introduction This paper discusses various types of software man-machine interfaces to middle- and high-level musical structures in terms of their applicability to live performance. My con- tention is that there are many good ideas of graphical structure-editing-based interfaces already in the literature that could well be used for controlling performance at levels higher than those addressed by most current systems. The software systems described here can be divided into two classes: those that are primarily designed for use by compos- ers; and novel systems for graphical interaction with structured data. The paper opens with several comments about formalisms for composition, and how these might be relevant to live performance. This section is followed by a collection of an- notated examples of software man-machine interfaces for composition or other tasks, whereby the pertinence of each to live performance is discussed. Formalisms for Composition A number of compositional formalisms have been developed through the ages for var- ious types of music. The relationship between musical form and structure and composi- tional methods is taught in depth in music academies as part of our composition or performance training. In many musics, the role of text is central in the development of simple musical struc- tures; they often mirror the text's structure, as in the case of many songs or liturgical mu- sics. The central role of diatonic harmony as a structure-giving element in the western music of the last 400 years is also obvious. In the early 20th century, diatonic harmony was replaced with 12-tone formalisms without a parallel advancement in the structural 1. Author's current address: P. O. Box 9496, Berkeley, CA 94709 USA, email stp@CNMAT,Berkeley.edu |
| Starting Page | 195 |
| Ending Page | 212 |
| Page Count | 18 |
| File Format | PDF HTM / HTML |
| DOI | 10.1080/09298219308570632 |
| Volume Number | 22 |
| Alternate Webpage(s) | http://www.ccmrc.ucsb.edu/~stp/PostScript/rt.perf.ui.ps.Z |
| Alternate Webpage(s) | https://doi.org/10.1080/09298219308570632 |
| Language | English |
| Access Restriction | Open |
| Content Type | Text |
| Resource Type | Article |
