In this paper we describe our efforts towards the development of live performance computer-based musical instrumentation. Our design criteria include initial ease of use coupled with a long term potential for virtuosity, minimal and low variance latency, and clear and simple strategies for programming the relationship between gesture and musical result. We present custom controllers and unique adaptations of standard gestural interfaces, a programmable connectivity processor, a communications protocol called Open Sound Control (OSC), and a variety of metaphors for musical control. We further describe applications of our technology to a variety of real musical performances and directions for future research.

this paper we present a novel domain for user modeling and intelligent agents -- agents as specific users' improvisational music companions (IMCs). We also introduce Band-OUT-of-a-Box (BoB), an agent designed to trade live, customized solos with a specific improvising musician/user

OSW, or "Open Sound World," allows development of audio applications using patching, C++, high-level specifications and scripting. In OSW, components called "transforms" are dynamically configured into larger units called "patches." New components can be expressed using familiar mathematical definitions without deep knowledge of C++. High-level specifications of transforms are created using the "Externalizer," and are compiled and loaded into a running OSW environment. The data used by transforms can have any valid C++ type. OSW uses a reactive real-time scheduler that safely and e#ciently handles multiple processors, time sources and synchronous dataflows. 1 Introduction We introduce "Open Sound World" (OSW), a scalable, extensible object-oriented language that allows sound designers and musicians to process sound in response to expressive real-time control. Real-time software synthesis packages such as Max/MSP [1] and FTS are designed using a simple software component mode...

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Belgium (grant N◦716631). Its main goal is to foster the development of new media technologies through digital performances and installations, in connection with local companies and artists. numediart is organized around three major R&D themes: • HyFORGE- Hypermedia Navigation: Information indexing and retrieval rely classically on constrained languages to automatically describe contents and allow formulating queries, respectively. This approach becomes hardly applicable for multimedia contents such as music or video because of the disparity between computable low-level descriptors and desired high-level semantics- the so-called semantic gap. Alternatively, HyFORGE investigates human-in-the-loop approaches and innovative tools for structuring and searching multimedia contents. Along with audio and image processing, HyFORGE builds up on self-organizing models to derive enhanced views of multimedia collections and provide users with efficient browsing interfaces. • COMEDIA- Body & Media: COMEDIA is named from a French contraction between body and media or stage director and media, which nicely sums up the main objective of this axis: giving to bodies the means to be their own artistic director! Hence based on position on stage or choreography between multiple artists for the inter-relationship and gestures or voice for the intra-relationship, CO-

In this paper, we describe the development of a new musical instrument, called the HandSketch. This new instrument is developed in respect with the Convergent Luthery Model [10]. It means that this instrument has to be practicable right from the beginning of the prototyping, in order to allow the progressive embodiment of the object. This specificity leads us to focus our control paradigm on the writing.

in partial fullfilment of the requirements for the degree of

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