This paper describes the Murmurator, a flocking simulation-driven software instrument created for use with multi-channel speaker configurations in a collaborative improvisation context. Building upon previous projects that use natural system models to distribute sound in space, the authors focus on the potentials of this paradigm for collaborative improvisation, allowing for performers to improvise both with each other and to adapt to performer-controllable levels of autonomy in the Murmurator. Further, the Murmurator’s facilitation of a dynamic relationship be-tween musical materials and spatialization (for example, having the resonance parameter of a filter applied to a sound being dependent on its location in space or velocity)is foregrounded as a design paradigm. The Murmurator’s collaborative genesis, relationship to improvisational and multi-channel acousmatic performance practices, software details, and future work are discussed.
A survey of the design, functionality, various uses, and communities built around modern music software. Includes discussions of music software's role in the creative process, modes of engagement afforded by different softwares, a list of characteristics of music software, and a brief analysis of four music softwares (Super Collider, Renoise, Max, and Ocarina).
This paper discusses the pieces Estilhaço 1 and 2, for percussion, live electronics, and interactive video created collaboratively by Fernando Rocha and Eli Stine. The conception of the pieces (including artistic goal and metaphor used), the context in which they were created, their formal structures and their relationship, the technologies used to create both their audio and visual components, and the relationships between the sound and corresponding images are discussed.
This course explores the ways in which sound interacts with video. We will investigate this interaction by first discussing the history and contexts of electronic sound, video, and their relationship, establishing (or refreshing) audio and video editing skills, and then getting hands-on experience through creative projects. Projects include composing sound design for film, creating video art (that incorporates video-recorded and/or animated materials), and designing real-time interactive media projects. The target student of this course is a musician interested in expanding their relationship to video and multimedia. No experience with audio or video technologies is required, although it is welcome.