New aesthetics and practice in experimental electronic music

Experimental Electronic Music Devices Employing Walsh Functions

The complete orthonormal sel of Walsh functions is used to generate periodic \ forms and envelope shapes for an additive synthesis electronic music device. Walsh functions, cus i ly produced In JiuiUil circuitry, can be used to generate \ of harmonic and nonhannonJC waveforms. A second Walsh function generator f the basis of a digital envelope controller which can produce a wide variety of si t...

Zipf's Law, Music Classification, and Aesthetics

The connection between aesthetics and numbers dates back to pre-Socratic times. Pythagoras, Plato, and Aristotle worked on quantitative expressions of proportion and beauty such as the golden ratio. Pythagoreans, for instance, quantified " harmonious " musical intervals in terms of proportions (ratios) of the first few whole numbers: a unison is 1:1, octave is 2:1, perfect fifth is 3:2, perfect...

Aesthetics and Design for Group Music Improvisation

Performing music as a group—improvised or from sheet music—is an intensive and immersive interaction activity that bears its own aesthetics. Players in such a setting are usually skilled in playing an instrument up to the level where they do not need to focus on the “operation” of the instrument, but can instead focus on higher-level feedback loops, e.g., between players in their section or the...

The Aesthetics of Interactive Computer Music

Towards an Aesthetic of Electronic-Music Performance Practice

The performance of electronic-music shows a large number of different practices, some displaying cunning interfaces that minutely track physical motions, while others refuse the display of any performative actions on behalf of the performer. With today's availability of largely inexpensive interfaces, the choice of a particular performance practice does not come as a technological necessity but...