Tools for Real-Time Music Notation

Freeman, Jason; Colella, Andrew

doi:10.1080/07494467.2010.509599

Cited by 7 publications

(6 citation statements)

References 5 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…In this scenario, LOLC musicians can manipulate musical score fragments in addition to audio files, and those fragments are displayed in real time to sight-reading musicians (on traditional instruments) with whom each laptop musician is paired. To us, this extension gives LOLC greater power as a tool to facilitate large-ensemble collaborations between the acoustic and digital domains, and it also makes LOLC a useful platform for experimenting with real-time notation in general; there is currently a lack of such tools (Freeman and Colella 2010). A performance with this extended system is already planned with Sonic Generator, for an ensemble consisting of violin, cello, flute, clarinet, marimba, and five laptop musicians.…”

Section: Future Workmentioning

confidence: 96%

Collaborative Textual Improvisation in a Laptop Ensemble

Freeman

Troyer

2011

Computer Music Journal

Self Cite

View full text Add to dashboard Cite

For us, text-based performance interfaces, such as those used in live coding systems (Collins et al. 2003), are a fascinating fusion of composition and improvisation. Textual performance interfaces can offer a precise and concise means to define, manipulate, and transform motives, gestures, and processes in real time and at multiple hierarchical layers. They can also render musical thinking visible to the audience by projecting the text as it is written.We are particularly interested in textual performance interfaces in laptop ensemble contexts. We believe that the dynamics of ensemble performance can lead laptop musicians in new creative directions, pushing them towards more real-time creativity and combining the diverse skills, ideas, and schemas of the ensemble's members to create unexpected, novel music in performance. But when laptop performance interfaces move beyond simple one-to-one mappings, they present unique ensemble challenges, particularly in terms of the synchronization and sharing of musical material. Specialized improvisation environments for specific performances (e.g., Trueman 2008) or ensembles (e.g., Rebelo and Renaud 2006) can help groups to negotiate these challenges and structure their collaboration: The tools can create powerful new channels of networked communication among ensemble members to supplement aural and visual interaction. Textual performance environments are uniquely positioned in this regard: They potentially offer greater efficiency and flexibility in performance, and because text is already a dominant networked communication medium, they can draw from an abundance of interaction models in areas such as instant messaging, collaborative document editing, and the real-time Web.Although many text-based performance environments do support collaboration, most current systems are challenging to use with ensembles of more than a few musicians. As a result, we created a new textual performance environment for laptop ensemble named LOLC. (LOLC was initially an acronym for Laptop Orchestra Live Coding, though we now consider the applicability of the term "live coding" to be debatable.) From its inception, we designed LOLC to focus on ensemble-based collaboration. Though inspired by live coding systems, LOLC is not itself a programming language: It is neither Turing-complete nor does it allow its users to define new computational processes. Instead, its design, in which musicians create rhythmic patterns based on sound files and share and transform those patterns over a local network, facilitates an interaction paradigm inspired by other forms of ensemble improvisation, particularly in jazz and avant-garde music.In this article, we discuss the related work upon which LOLC builds; we outline the main goals of the LOLC environment; we describe the environment's design, its technical implementation, and the motivations behind some of our key decisions; and we evaluate its success through discussion of a recent performance. Related WorkThe design and implementation of LOLC was influenced b...

show abstract

Section: Future Workmentioning

confidence: 96%

Collaborative Textual Improvisation in a Laptop Ensemble

Freeman

Troyer

2011

Computer Music Journal

Self Cite

View full text Add to dashboard Cite

show abstract

“…Freeman has worked extensively with live score generation, particularly with audience interaction and participation, including web-based collaboration (Freeman 2010). Freeman and Colella (2010) provide an excellent overview of the available tools for real-time music notation, while Freeman (2008) gives a description of his own motivations and challenges in real-time score generation.…”

Section: Real-time Notation For Human Performancementioning

confidence: 99%

“…However, the complexities of musical notation (Cole 1974; Stone 1980), which have evolved to high degrees of expressivity within the Western paradigms of pitch and pulse, have restricted the type of directions that can be generated live. Despite this, the possibility for generating musical notation during performance now exists due to the tools that are now more readily available (Freeman and Colella 2010).…”

Section: Introductionmentioning

confidence: 99%

Generative Music for Live Performance: Experiences with real-time notation

Eigenfeldt

2014

Org. Sound

View full text Add to dashboard Cite

Notation is the traditional method for composers to specify detailed relationships between musical events. However, the conventions under which the tradition evolved – controlled relationships between two or more human performers – were intended for situations apart from those found in electroacoustic music. Many composers of electroacoustic music have adopted the tradition for mixed media works that use live performers, and new customs have appeared that address issues in coordinating performers with electroacoustic elements. The author presents generative music as one method of avoiding the fixedness of tape music: coupled with real-time notation for live performers, generative music is described as a continuation of research into expressive performance within electroacoustic music by incorporating instrumentalists rather than synthetic output. Real-time score generation is described as a final goal of a generative system, and two recent works are presented as examples of the difficulties of real-time notation.

show abstract

“…The musical structure has rarely been addressed as a means of auditory information display. Real-time music notation techniques (also referred to as dynamic musical scores) emerge recently (Freeman and Colella 2010) and offer a way to get into the essence of the music and create a melodious musical representation of data. As the real-time notation is a relatively new field, few tools are available for non-composers.…”

Section: Introductionmentioning

confidence: 99%

Unwind: a musical biofeedback for relaxation assistance

Funk

et al. 2018

Behaviour & Information Technology

View full text Add to dashboard Cite

Unwind is a musical biofeedback interface which combines nature sounds and sedative music into a form of New-Age music for relaxation exercises. The nature sounds respond to the user's physiological data, functioning as an informative layer for biofeedback display. The sedative music aims to induce calmness and evoke positive emotions. UnWind incorporates the benefits of biofeedback and sedative music to facilitate deep breathing, moderate arousal, and promote mental relaxation. We evaluated Unwind in a 2 × 2 factorial experiment with music and biofeedback as independent factors. Forty young adults performed the relaxation exercise under one of the following conditions after experiencing a stressful task: Nature sounds only (NS), Nature sounds with music (NM), and Auditory biofeedback with nature sounds (NSBFB), and UnWind musical biofeedback (NMBFB). The results revealed a significant interaction effect between music and biofeedback on the improvement of heart rate variability. The combination of music and nature sounds also showed benefits in lowering arousal and reducing self-report anxiety. We conclude with a discussion of UnWind for biofeedback and the wider potential of blending nature sounds with music as a musical interface. ARTICLE HISTORY

show abstract

Tools for Real-Time Music Notation

Cited by 7 publications

References 5 publications

Collaborative Textual Improvisation in a Laptop Ensemble

Collaborative Textual Improvisation in a Laptop Ensemble

Generative Music for Live Performance: Experiences with real-time notation

Unwind: a musical biofeedback for relaxation assistance

Contact Info

Product

Resources

About