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.

As with many other kinds of data, the past several decades have witnessed an explosion in the quantity and variety of music in computer-accessible form. There are primarily two kinds of “music data ” one encounters today: sampled audio files, such as those found on compact discs or scattered over the web in various formats, and symbolic music representations, which essentially

:W is a systematic approach toward the construction of event-driven, interactive, real-time software. W is driven by practical concerns, including the desire to reuse existing code wherever possible, the limited real-time software support in popular operating systems, and system cost. W provides a simple, efficient, software interconnection system, giving objects a uniform external interface based on setting attributes to values via asynchronous messages. An example shows how W is used to implement real-time computer music programs combining graphics and MIDI. 1. Introduction Real-time interactive music systems are among the most demanding computer applications. In addition to the usual algorithm, data structure, and implementation problems, interactive music systems must respond to input in milliseconds and deal with a variety of input and output media. Special structures are required to satisfy these real-time requirements, leading to programming styles not supported by ordinary sof...

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Many recent computer applications seek to support or even participate in structured collaborations with humans. Examples range from computer-supported collaborative work to interactive music systems. This thesis presents a general model for structured collaboration based on conversational turn-taking. According to the model, collaboration participants share both a representation of the collaboration's structure and the algorithms governing navigation through that structure. ImprovisationBuilder, an object-oriented framework written in Smalltalk-80, supports this model for musical improvisation. The framework demonstrates how computers can participate in musical improvisation, and how the study of conversation can improve that participation. Two musical improvisational domains are described. The first is a free-form three part canon defined by Sal Martirano's Sound and Logic system. The second is the tradition of small jazz ensemble performance made popular in the 1940's and 50's. Impro...

Abstract–Temporal relationships are a characteristic feature of multimedia objects. Continuous media objects such as video and audio have strict synchronous timing require-ments. Composite objects can have arbitrary timing relationships. These relationships might be specified to achieve some particular visual effect of sequence. Several different schemes have been proposed for modeling time-based media. These are reviewed and evaluated in terms of representational completeness and delivery techniques.

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Audio editing software allows multi-track recordings to be manipulated by moving notes, correcting pitch, and making other fine adjustments, but this is a tedious process. An “intelligent audio editor” uses a machine-readable score as a specification for the desired performance and automatically makes adjustments to note pitch, timing, and dynamic level.

Introduction to the CMU Midi Toolkit The CMU Midi Toolkit is a software system that provides an easy-to-use interface to Midi, a standard interface for music synthesizers (Loy, 1985). The intent of the system is to support experimental computer music composition, research, and education (Dannenberg, 1984), rather than to compete with commercial music systems. The CMU Midi Toolkit is especially useful for building interactive real-time systems (Chabot, 1986) and for creating non-traditional scores, which might include non-standard tunings, mulitiple tempi, or time-based rather than beat-based notation. (Dannenberg, 1986) 1.1. Adagio: A Text-Based Score Language One of the main components of the CMU Midi Toolkit is the score language Adagio. Unlike the numerous screen-based sequencers now available on personal computers, Adagio is a textbased system. Adagio tends to be more flexible and open-ended than most sequencers. One attractive feature is t

this report. This thesis will describe attempts to build a real-time interactive system for computer music which allows a human instrumentalist to establish the rhythmic frame of performance. The computer must search for evidence of metrical hierarchy or timeline from the audio signal, tracking tactus (beat induction) whilst allowing for expressive timing and motor noise, and all this without excessive zeal but within some reasonably smooth trajectory