This not only relates on the interactivity capabilities of a digital system, but also has a great impact on the higher level musical characteristics of a composition, as opposed to other paradigms of live electronic music. In the context of Electroacoustic music, it provides an ideal interface for experimentation as it allows one to improvise the structure of algorithms that constitute the sound synthesis engine of a computer-based musical environment, and thus releases the performer from constraints and limitations from fixed interaction possibilities. It is an emerging laptop performance paradigm that is used in many art scenes and research practices in the digital arts and contemporary musical scenes, such as Computer Music, Electroacoustic performance and the broad landscape of Sonic/Sound Art, as well as in the Algorave community, a live music idiom broadly referring to the creation of dance music using live coding to hack music which interacts with visuals. Live coding is the dynamic process of modifying the source code of a running software that generates sound or visuals (Collins, 2011 Collins et al., 2003 Collins & Escrivan Rincón, 2011 Nilson, 2007).
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