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May 1990

Volume 87, Issue S1, pp. S1-S164

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back to top Session P. Musical Acoustics II: Human‐Computer Interactive Musical Systems
Invited Papers
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Amplifying musical nuance (A)

Miller Puckette

J. Acoust. Soc. Am. Volume 87, Issue S1, pp. S39-S39 (1990); (1 page)

Online Publication Date: 13 Aug 2005

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A technique for computer music accompaniment of human instrument players is described, which emphasizes the use of control and sound information from the player to affect the computer's response. The intensities, microtuning, or timbre of certain notes can become parameters in sound synthesis, or the sounds themselves can be transformed by the computer. Alternatively, the player can play the computer as a keyboard instrument, with the computer supplying hidden parameters to the notes. The computer must follow the player's progress through the score, carrying out its various tasks in the desired places. Allowance must sometimes be made for notes coming in a nonpredetermined order. A multiprocessor currently under development at IRCAM for realizing these algorithms is described, as well as an example from a recent piece of music using them.
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Computer‐assisted interactions between two musicians (A)

David Wessel and David Waxman

J. Acoust. Soc. Am. Volume 87, Issue S1, pp. S40-S40 (1990); (1 page)

Online Publication Date: 13 Aug 2005

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A novel improvisation‐oriented live performance situation is proposed. Its implementation is described, and results from actual performances are presented. This performance context involves a musician performing on an instrument outfitted with sensors which feed a computer system that monitors certain aspects of the instrument's behavior such as its pitch, loudness, and timbre. Another performer interacts with the system to selectively record, transform, and play electroacoustics materials derived from the instrumentalist's performance. This situation might be characterized as one involving an improvising soloist with an accompanist who constructs the accompaniment from phrases attentively trapped from the soloist's ongoing performance. The system requires a running or short‐term memory mechanism with procedures that aid in the parsing of selected phrases, a supple user interface for the accompanist that facilitates the selection and transformation of the musical materials as well as their expressive performance, and a rich set of procedures for producing variations. A number of successively refined implementations of this idea have been made, the most recent of which uses the MAX programming environment developed by Miller Puckette at IRCAM. The system provides for musical intimacy between the performers. It also provides the accompanist with an interesting set of tasks and the soloist with a stimulating accompaniment based on variations of his own materials.
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Feature classification and related response in a real‐time interactive music system (A)

Robert Rowe

J. Acoust. Soc. Am. Volume 87, Issue S1, pp. S40-S40 (1990); (1 page)

Online Publication Date: 13 Aug 2005

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Cypher is a real‐time interactive music system that has two halves: a listener and a player. The listener listens to and analyzes external musical input. The player uses various algorithmic techniques to produce new musical output. The two halves are each hierarchical, where higher levels correspond to longer spans of time. The listener classifies for the player features detected in the input and their behavior over time, and the player uses this information to produce music in response. Features characterized include speed, density, harmony, and duration. A graphic interface allows the user to specify relations between feature classifications and types of response. Collections of relations can be saved and recalled during performance by a score orientation section that tracks human performance and executes state changes at predetermined points in the score. Cypher plays composed music in a manner that is sensitive to live human performance cues. It is able to analyze and respond creatively to unknown music. Finally, it can compose without input, using algorithms to either transform remembered material, or generate new musical output.
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Techniques for expressive performance of electronic music with real‐time, computer‐controlled synthesizers (A)

Max Mathews

J. Acoust. Soc. Am. Volume 87, Issue S1, pp. S40-S40 (1990); (1 page)

Online Publication Date: 13 Aug 2005

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Electronic instruments offer many new possibilities for the expressive performance of music. The intent of the performer must be embodied in physical gestures that control the sound. Gestures of arms, fingers, and articulators are the most rapid and precise movements that humans can produce. New sensors can be built to couple these notations to electronic instruments. An example is the radio drum, which continuously measures the positions of any number of drum “sticks” in three dimensions. The drum need not be “hit” to play a note. The trajectories of the sticks can be interpreted by a computer, much as the gestures of a conductor's baton are interpreted by an orchestra. Control programs can be written that allow the performer to concentrate his attention on the expressive factors of the music. The programs automatically supply the routine factors, factors over which the performer has no real choice, such as the sequence of pitches in a traditional score. One such program is the conductor program in which the score of the music to be played and positions of beats of the baton are stored in the computer memory. The performer controls the tempo of the performance by beating time with a stick or, in some cases, by moving the stick continuously to make a gradual change of tempo. Other continuous motions can shape timbral factors within notes or can control the loudness and balance of the different voices. The program allows much of the performer's gestures to be at the musical phrase level, rather than at the level of individual notes.
Contributed Papers
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Real‐time computer accompaniment (A)

Roger B. Dannenberg

J. Acoust. Soc. Am. Volume 87, Issue S1, pp. S40-S41 (1990); (2 pages)

Online Publication Date: 13 Aug 2005

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Now that real‐time computer music systems are relatively portable and affordable, it has become common to use them in live performance. Unfortunately, most computer music systems offer little more than a tape recorder in terms of their abilities to interact with live musicians. Computer accompaniment was designed to go beyond this “tape recorder” model of human‐computer interaction. Computer accompaniment is a process in which a computer “listens” to a live musician, follows along in a score, and synchronizes an “accompaniment” score with the live player. A system has been implemented that can reliably accompany a live musician in spite of tempo changes and wrong notes. Input is acoustic for instruments that produce a single tone (monophonic) and via mechanical sensors for keyboard input. The talk will focus on the pattern matching used to follow the score and on tempo adjustment techniques used to produce a musical accompaniment.
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Musical performance by the handicapped generated from bioelectric signals (A)

Hugh S. Lusted, R. Benjamin Knapp, and Joseph Nagler

J. Acoust. Soc. Am. Volume 87, Issue S1, pp. S41-S41 (1990); (1 page)

Online Publication Date: 13 Aug 2005

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Recently, the use of bioelectric signals to generate MIDI was reported [H. S. Lusted and R. B. Knapp, J. Acoust. Soc. Am. Suppl. 1 84, S179 (1988)]. Currently, the Biomuse system is being developed for use by movement‐impaired individuals to produce music from standard MIDI instruments. The system detects bioelectric signals that are then analyzed for specific intensity and spectral characteristics, and then mapped to MIDI output commands to produce desired effects from a synthesizer. The system can utilize the electrical signals from muscle (EMG), brain activity (EEG), and eye movements (EOG). Through the use of flexible front end software, the Biomuse can accommodate the needs of many diverse populations of handicapped users. In so doing, the Biomuse will open doors to independent music making and renewal of the creative process. A quadriplegic user, for example, can utilize residual upper extremity EMG and eye movements to directly control various MIDI parameters in order to produce synthesizer sounds or access the functions of PC‐based software. Therapeutic interactions using this technology can help people to overcome barriers and lead richer and more productive lives.
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