Interactive electroacoustic music that alters or extends instrumental timbre, samples it, or generates sound based upon data generated in real time by the performer presents a new set of challenges for the performing musician. Unlike tape music, interactive music can continuously vary its response and, frequently, performers are unable are to predict how the computer will react. Many, if not mo...

The evolution of computer-based music systems has gone from computer-aided composition, which transposed the traditional paradigms of music composition to the digital realm, to complex feedback systems that allow for rich multimodal interactions. Yet, a lot of interactive music systems still rely on outdated principles in the light of modern situated cognitive systems design. Moreover, the role...

Music and creative music making in different forms is important in young peoples’ lives. Children learn many things about music on their own by taking part in the growing production of musical cultures that media makes available. The media revolution has produced new tools for creative musical activities. Computer and synthesiser have become important tools for young people to express themselve...

No Clergy is an interactive music performance/installation in which the audience is able to shape the ongoing music. In it, members of a small acoustic ensemble read music notation from computer screens. As each page refreshes, the notation is altered and shaped by both stochastic transformations of earlier music with the same performance and audience feedback, collected via standard CGI forms.

The original idea in developing Pd [?] was to make a real-time computer music performance environment like Max, but somehow to include also a facility for making computer music scores with user-specifiable graphical representations. This idea has important precedents in Animal [?] and SSSP [?]. An even earlier class of precedents lies in the rich variety of paper scores for electronic music bef...

Music and computers are natural partners. For centuries, music theory has been closely aligned with (and an important source of inspiration for) science and mathematics. Music compositions, however, are too large and complex to model mathematically, at least in practice. For the most part, science and mathematics diverged from music composition and developed independently—but then computers cam...

ChucK is a programming language designed for computer music. It aims to be expressive and straightforward to read and write with respect to time and concurrency, and to provide a platform for precise audio synthesis and analysis and for rapid experimentation in computer music. In particular, ChucK defines the notion of a strongly timed audio programming language, comprising a versatile time-bas...

Human-Computer Music Performance for popular music – where musical structure is important, but where musicians often decide on the spur of the moment exactly what the musical form will be – presents many challenges to make computer systems that are flexible and adaptable to human musicians. One particular challenge is that humans easily follow scores and chord charts, adapt these to new perform...

Music Understanding is the recognition or identification of structure and pattern in musical information. Five music understanding projects are discussed. In the first, Computer Accompaniment of Melodic Instruments, the goal is for a computer system to listen to and play along with a live performer, using a predetermined score. In the second project, the technique is extended to handle polyphon...