The recent progress of Electronic Music Distribution creates a natural pressure for fine-grained musical metadata. This metadata is needed to provide music distribution services which are able to cope with the mere size of music catalogues, and the desire of users to access music titles by similarity. In this context, we describe a project of a global music title metadatabase, and focus in the ...

This paper proposes the notion of Nodalism as a means describing contemporary culture and of understanding my own creative practice in electronic music composition. It draws on theories and ideas from Kirby, Bauman, Bourriaud, Deleuze, Guatarri, and Gochenour, to demonstrate how networks of ideas or connectionist neural models of cognitive behaviour can be used to contextualize, understand and ...

In this paper, the authors introduce a stand-alone synthesizer, “B.O.M.B. – Beat Of Magic Box –” for electronic music sessions and live performances. “B.O.M.B.” has a wireless communication system that synchronizes musical scale and tempo (BPM) between multiple devices. In addition, performers can change master/slave role between performers immediately. Our primary motivation is to provide both...

We describe here our efforts to make it easier to perform certain well-known pieces from the live electronic music repertory, without resorting to special hardware or proprietary software. We hope that these realizations of the electronic parts of the pieces will be longer-lasting than previous realizations have been, and that they will make it possible to perform the music with a much smaller ...

In this paper I discuss the importance of and need for pedagogical materials to support the development of new interfaces and new instruments for electronic music. I describe my method for creating a graduated series of pedagogical etudes composed using Max/MSP. The etudes will help performers and instrument designers learn the most commonly used basic skills necessary to perform with interacti...

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...

Electronic technology has liberated musical time and changed musical aesthetics. In the past, musical time was considered as a linear medium that was subdivided according to ratios and intervals of a more-or-less steady meter. However, the possibilities of envelope control and the creation of liquid or cloud-like sound morphologies suggests a view of rhythm not as a fixed set of intervals on a ...

Antescofo is a modular anticipatory score following system that holds both instrumental and electronic scores together and is capable of executing electronic scores in synchronization with a live performance and using various controls over time. In its very basic use, it is a classical score following system, but in advanced use it enables concurrent representation and recognition of different ...

Disc jockeys are in some ways the ultimate experts at selecting and playing recorded music for an audience, especially in the context of dance music. In this work, we empirically investigate factors affecting track selection and ordering using mixes created for the Essential Mix. The Essential Mix is a well known weekly radio show on BBC Radio 1 that showcases various styles of electronic dance...

With the advent of electronic music and computers, the human-sound interface is liberated from the specific physical constraints of traditional instruments, which means that we can design musical interfaces that provide arbitrary mappings between human actions and sound generation. This freedom has resulted in a wealth of new tools for electronic music generation that expand the limits of expre...