The Continuator system is an attempt to bridge the gap between two classes of traditionally incompatible musical systems: 1) interactive musical systems, limited in their ability to generate stylistically consistent material, and 2) music composition systems, which are fundamentally not interactive. The purpose of Continuator is to extend the technical ability of musicians with stylistically co...

When people play music and dance together, they engage in forms of musical joint action that are often characterized by a shared sense of rhythmic timing and affective state (i.e., temporal and affective entrainment). In order to understand the origins of musical joint action, we propose a model in which entrainment is linked to dual mechanisms (motor resonance and action simulation), which in ...

Music in dreams is rarely reported in scientific literature, while the presence of musical themes in dreams of famous musicians is anecdotally reported. We did a systematic investigation to evaluate whether the occurrence of musical dreams could be related to musical competence and practice, and to explore specific features of dreamt pieces. Thirty-five professional musicians and thirty non-mus...

one of the fields of creation and practice expansion is an attempt to diversify and multiply melodic modules which can increase practical potentials in a musical system. the most fundamental element of a sonic- musical atmosphere (mode) is ambits of tone; in other words, it is a sequence of tones with specific frequency. therefore, melodic modules combination depends on acoustical features and ...

Creative thinking in music has received only limited attention in the psychology of art and creativity, yet it appears to be one of the most important issues in the field of music education. As creative thinking in music exists in the general population and increasing evidence suggests the positive effects of active engagement with music, it seems that research on this topic offers promising im...

Musical composition is a creative art, but is restricted by the limitations of the finite musical information that can be expressed. Though notation allows expressive qualities to be applied to notes, composition is limited within the realms of the octave; therefore only a limited number of combinations of musical notes are permitted within a measure or musical piece. This restraint combined wi...

In this paper we describe a method, based on the edit distance, to construct cases of musical performances by annotating them with the musical behavior of the performer. The cases constructed with this knowledge are used in Tempo-Express, a CBR system for applying tempo transformations to musical performances, preserving musical

Passive RF Tagging can provide an attractive medium for development of free-gesture musical interfaces. This was initially explored in our Musical Trinkets installation, which used magnetically-coupled resonant LC circuits to identify and track the position of multiple objects in real-time. Manipulation of these objects in free space over a read coil triggered simple musical interactions. Music...

Informed by a proposed theoretical framework for the field of interconnected musical networks (Weinberg 2005), I describe a set of local musical networks that utilise novel gestural controllers for interdependent collaborative performance. The paper begins by contextualising developments in the field of musical networks in correlation with development of technological innovations, leading to th...

MM-RT (material and magnet rhythm and timbre) is a tabletop musical instrument equipped with electromagnetic actuators to offer a new paradigm of musical expression and exploration. After expanding on prior work with electromagnetic instrument actuation and tabletop musical interfaces, the paper explains why and how MM-RT, through its physicality and ergonomics, has been designed specifically f...