Interactive Technologies and Music Making: Transmutable Music

Cover
Half Title
Title Page
Copyright Page
Contents
Figures
Tables
Acknowledgements
1. Introduction
	Waves of Change
	Music and Technology
	Recorded Music and Static Formats
	Interactive Technologies and the Shaping of New Music Experiences
	Overview of the Book
		Section 1 Understanding Transmutable Music Systems
		Section 2 Approaches for Composing Transmutable Music
		Section 3 Interactive Technologies and Music Making (Background and Context)
		Section 4 Compositional Approaches in Transmutable Music: Tutorial Series
		Section 5 Conclusion, Companion Website, and Glossary
	How to Use This Book
		Software
	Summary Points
	Note
	References
Section 1: Understanding Transmutable Music Systems
2. Aesthetics of Transmutable Music
	Dynamic or Transmutable Music?
	Music Form and Structure
	Process and Musical Systems
	Time and Music
	Transmutable Music System
		Video Game Example
		Interactive Mobile App Example
	Summary
	References
3. Components of Transmutable Music
	Components of Transmutable Music
	Designing Experience in Transmutable Music
		Creating Experience in Transmutable Music
		The Role of Multimodal Feedback in Enhancing Transmutable Music Engagement
	The Musical Design for Transmutable Music
	Content
		Organising the Content
		Summary of Content
	Musical Architecture
		Macro Form
		Sub-structures
		Sound Material (Sound Object Level)
		Hierarchical Levels in Popular Music
		Summary of Musical Architecture
	Control System
		User Interaction and Controllers
		Data Classification and Transformation
			Discrete Data
			Continuous Data
		Audio Analysis
		Control and Process
		Mapping
		Summary of the Control System
	Summary
	Exercise 3.1 Crafting Your Blueprint for a Transmutable Music Work
	Notes
	References
Section 2: Approaches for Composing Transmutable Music
4. Experience and Interaction
	Overview of Section 2
	The Paradox of Experience in Transmutable Music Systems
	Integrating Continuous Evaluation in Transmutable Music Composition
	Case Study: The Madness of Crowds - Audience Interaction with Technology in a Performance Setting
		Objective
		Project Details
		Implementation
		Performance
		Outcome and Learnings
		Key Observations
		Conclusion
	The Importance of Observational Insights
	Prototyping and Iterative Development
	User Testing
		Case Study: \'The One Drop\' Project - Interactive Listening Experiences - Will Audiences Interact (2010-2014)
			Introduction
			Project Summary
			Research Problem
			Research Design
			Research Methods
			Participants
			Instruments
			Analysis
			Results
		Case Study: The Semantic Machine - Redefining Music in the Age of Interactive Technology
			Introduction
			Project Summary
			Research Problem
			Research Design
			Research Methods
			Participants
			Instruments
			Results
	Summary
	Exercises
		Exercise 4.1 - Musical Design and User Experience
		Exercise 4.2 - Conduct Your Own User Testing
		Exercise 4.3 - User Experience Evaluation and Discussion
	Notes
	References
5. Variability
	Variability and Variation
	Designing Variability in a Transmutable Music System
	Tools and Approaches for Composing Variability
		Variation
			Melodic Variation Techniques
			Tutorial 5.1 - Generative Work Using Variation
				Exercise 1 - Harmonic Variation
				Exercise 2 - Instrument Variation
				Exercise 3 - Adding Sound Variation
				Exercise 4 - Ambience
				Exercise 5 - Tweaking
		Layering, Blending and Vertical Orchestration
			Case Study: Composing Variability through Layering, Blending, and Orchestration (Master Level)
				Introduction
				Stage 1: Exploratory Phase and Alpha Prototype
				Stage 2: Experimentation with \'Falling Dream\'
				Stage 3: The Composition of One Drop
				Orchestration and Blending Insights
				Vocal Arrangement Considerations
				Final Mixing and Interface Design
				Conclusion: Reflections and Future Directions
		Branching and Horizontal Resequencing
			Case Study: Composing Variability through Layering and Branching (Section Level)
				Compositional Model and Content:
				Musical Architecture
				Control System
				Transmutability of the Musical Design
		Loop Variation (Combining Layering and Branching)
			Loop Editing
			Tutorial 5.2 - Composing an 18-loop Work (Phrase Level)
	Summary
	Notes
	References
6. Transmutability
	Transmutability: Reframing Control Systems in Music Composition
	What Comes First, the Data or the Music?
	Music as Data and Data as Music
	Exploring Transmutability in Musical Composition
	Experimentation in Choice and Control
	Historical Context
	Exploring Data Types for Composition
	Music Representation Systems and Protocols
		MIDI Protocol
		MIDI 2.0
		Open Sound Control (OSC)
	Tutorial 6.1 Chance and MIDI Tutorial: Utilising Randomness in Max4Live
	Data Transformation, Modelling, and Mapping
		Mapping to Musical Parameters (Simple)
		Data Modelling and Mapping: An Overview (Complex)
		Discrete Data Modelling
		Dealing with Noise in Data
		Continuous Data Modelling
		Machine Learning: Simplifying Complex Data
	AI and Creative Data Utilisation
	Moving Forward Resources
		Learning Audio and Programming Software
		Analysis, Learning Algorithms, and Model-Based Approaches
	Summary
	Notes
	References
7. Evaluating Transmutable Music
	Practitioner Evaluation and Roles
	Evaluating Transmutable Music
		Sub-criteria of Variability
		Sub-criteria Transmutability
	The Two Criteria: Variability and Transmutability
	Criterion 1: Variability
		Sub-criterion 1: Variability in the Musical Architecture and Content
			Complexity Levels
			Application
		Sub-criterion 2: Variability of the Resulting Form or Rendered Musical Output
			Complexity Levels
			Application
	Criterion 2: Transmutability
		Sub-criterion 2.1: The Level of Control the Transmutability has on the Musical Architecture
			Control Levels
			Complexity Assessment
			Application
		Sub-criterion 2.2: The Amount of Control the Transmutability has on the Musical Architecture
			Purpose
			Complexity Levels
			Application
		Sub-criterion 2.3: The Design of the Control System in Relation to Control and Process
			Complexity Levels
			Application
	The Framework for the Evaluation of Transmutable Music
		Evaluation Table
	Evaluation Case Studies
		Evaluation of Radiohead\'s A Moon-Shaped Pool
			Criterion 1: Variability
				Sub-criterion 1.1: Variability in the Musical Design
				Sub-criteria 1.2: Variability of the Resulting Form or Musical Output
			Criterion 2: Transmutability
			Summation
		Evaluation of \'Is This Your World?\'
			Conceptual Overview
			Criterion 1: Variability
				Sub-criterion 1.1: Variability in the Musical Design
				Sub-criteria 1.2: Variability of the Resulting Form or Musical Output
			Criterion 2: Transmutability
		Summation
		Evaluation of Quarta: Hybrid Game with Generative Soundtrack
			Criterion 1: Variability
				Sub-criterion 1.1: Variability in the Musical Design
				Sub-criteria 1.2: Variability of the Resulting Form or Musical Output
			Criterion 2: Transmutability
		Summation
	Summary
		Sub-criteria of Variability
		Sub-criteria Transmutability
	Notes
	References
Section 3: Interactive Technologies and Music Making (Background and Context)
8. The Convergence of Remix, Production, and Video Games
	The Remix Revolution: Tracing the Evolution of Music\'s Participatory Culture
	Production and Electronic Composition
	Convergence of Music and Gaming Audiences
	Summary
	Note
	References
9. The Convergence of Music, Technology, and Interactivity
	Interactive Art and Composition
	Music Video Games
	Interactive CD ROM
	The Web - Browser-Based Audio
	Mobile Devices and Apps
	Summary
	Notes
	References
Section 4: Compositional Approaches in Transmutable Music: Tutorial Series
10. Mobile Music Making Basic Tutorials (MIDI)
	Overview of Section 4
		Chapter 10 Mobile Music Making: Basic Mapping Tutorials (MIDI)
		Chapter 11 Mobile Music Making Advanced Tutorials (OSC)
		Chapter 12 Adaptive Music for Video Games
	Mobile Music Making Series - Chapters 10 and 11
	Tutorial 10.1: Working with TouchOSC
		TouchOSC Software Requirements
		TouchOSC Overview
			Tool Bar
			Control Surface Editor
			Editor Panel
		Configuring TouchOSC and Ableton Live for Mapping
			Configuring Your Connection
			Setting Up
			Configuration Using a Wireless Network
			Open a Template on TouchOSC
			Ableton Live Setup
	Tutorial 10.2: Simple Mapping to Musical Parameters (MIDI)
		Exercise 1 - Mapping MIDI in Ableton Live
		Exercise 2 - Extending the Structure (One-to-One Mapping)
		Exercise 3 - MIDI notes (One to One Mapping)
		Exercise 4 - Adding More Parameters (One to Many Mappings)
		Exercise 5 - One to Many Mappings (Self-Directed)
			XY Pad M4L
			MultiMap M4L
	Tutorial 10.3: Designing a Template/GUI with TouchOSC (MIDI)
	Notes
	Reference
11. Mobile Music Making Advanced Tutorials (OSC)
	Tutorial 11.1 - Accessing Accelerometer Data in Max4Live (OSC) - Working with LOM
		Mobile Phone Sensors
		Accelerometers
		Exercise 1 - Receive OSC Messages in Max4Live
			Extracting Data
			Connecting to a Dial and Scaling Data
			Troubleshooting - When Data Is Not Received in Max
		Exercise 2 - Build a New TouchOSC Template That Can Send Accelerometer Data as OSC Messages
		Exercise 3 - Organising the Data
		Exercise 4 - Use Your Phone\'s Accelerometer Data to Control Sound
			Mapping to Operator Instrument in Ableton Live
			Creating More Functionality in Your TouchOSC Template
			Expand the Sound Design with Another MIDI Instrument
			Create Another Device for the X-axis
			Extend the Sound Design with Loops and Buttons
	Tutorial 11.2 - Developing Simple Models with Decision Trees Max4Live (OSC)
	Tutorial 11.3 - Intro to Machine Learning Using Accelerometer Data in Max4Live
	Creative Exercise: Crafting Your Interactive Music Prototype with Mobile Integration
		Design and Evaluation Essentials
	Notes
12. Adaptive Music for Video Games
	Overview of Tutorial Series
	Tutorial 12.1 - Vertical Orchestration/Remixing (Layering and Blending): Building Suspense and Intensity
		Composition Brief
			Compositional Techniques for Building Suspense
				Techniques to Explore
		Exercise 1 - Layer 1 Control Room - Atmospheric, Spacey, and Chill
			Adding a Second Layer
		Exercise 2 - Layer 2 Machine Room - Atmospheric, Noisy, and Dark
		Exercise 3 - Layer 3 Room with an Alien - Build Suspense
			Timpani
			Kick and Snare
			String Ostinato
		Exercise 4 - Layer 4 Room, Alien Boss - Fearful
		Exercise 5 - Mixing
	Tutorial 12.2 - Prototyping and Audio Integration: Intro to FMOD and Unity
		Overview
		Resources and Tools
	Tutorial 12.3 - Sound Effects and Variability in Unity: The Viking Village Project
		What You\'ll Do
		Integration and Testing
		Resources
	Tutorial 12.4 - Horizontal Resequencing for Adaptive Audio: FMOD
		Overview
		What You\'ll Learn
		Advanced Techniques
		Resources
	Tutorial 12.5 - Horizontal Resequencing and Audio Integration: FMOD and Unity
		Final Steps in the Series
		Integration Techniques
		No Coding Needed
		Final Exercise Challenge
		Where to Find Resources
	Creative Exercise - Composing Adaptive Audio and FX for the Viking Village
	Notes
Section 5: Conclusion, Companion Website, and Glossary
13. Conclusion
	Conclusion
	Reference
14. Companion Website
	Resources
	Tutorials and Exercises
15. Glossary
Index