Add to ORKGApproaches to the use of technology in music composition can be organised into two categories characteristic of the concepts of bricoleur and engineer as found in Claude Levi-Strauss' "The Savage Mind". This paper begins by arguing that the engineer approach is of more importance to the future of technology in music composition. It then documents the creation of five pieces, each intimately entwined with the use of technology and utilizing an engineer approach, outlining their associated intentions, technical implementations and concerns. Finally, the ambiguous nature of the role of composer in these pieces is outlined and discussed
The use of technology in music and education can no longer be described as a recent development. Mus...
Much of what we might call "high-art music" occupies the difficult end of listening for contemporary...
This research presents an autoethnographic investigation, through composition, performance and softw...
Approaches to the use of technology in music composition can be organised into two categories charac...
This thesis was submitted for the award of Doctor of Philosophy and was awarded by Brunel University...
The potential for critical technical practice in the creation of music The practices and perception...
Computer music researchers dream of the perfect algorithm, in which the music generated is indisting...
During my Master’s degree I created a series of electronic collage compositions by superimposing pre...
Digital musical instrument design is often presented as an open-ended creative process in which tech...
This article examines the techno-philosophical aspects of how we create and understand musical syste...
Computer software for music has made a significant impact by affecting the perspective of music maki...
Tools and their technical frameworks impact directly the compositional processes, thus, placing itse...
For more than sixty years, the actors of electroacoustic music have been embracing information techn...
In this paper, I seek to (re-)align technological thinking with progressive thought in music by emph...
In the changing context of computer music composition where the computer becomes a commodity rather ...
The use of technology in music and education can no longer be described as a recent development. Mus...
Much of what we might call "high-art music" occupies the difficult end of listening for contemporary...
This research presents an autoethnographic investigation, through composition, performance and softw...
Approaches to the use of technology in music composition can be organised into two categories charac...
This thesis was submitted for the award of Doctor of Philosophy and was awarded by Brunel University...
The potential for critical technical practice in the creation of music The practices and perception...
Computer music researchers dream of the perfect algorithm, in which the music generated is indisting...
During my Master’s degree I created a series of electronic collage compositions by superimposing pre...
Digital musical instrument design is often presented as an open-ended creative process in which tech...
This article examines the techno-philosophical aspects of how we create and understand musical syste...
Computer software for music has made a significant impact by affecting the perspective of music maki...
Tools and their technical frameworks impact directly the compositional processes, thus, placing itse...
For more than sixty years, the actors of electroacoustic music have been embracing information techn...
In this paper, I seek to (re-)align technological thinking with progressive thought in music by emph...
In the changing context of computer music composition where the computer becomes a commodity rather ...
The use of technology in music and education can no longer be described as a recent development. Mus...
Much of what we might call "high-art music" occupies the difficult end of listening for contemporary...
This research presents an autoethnographic investigation, through composition, performance and softw...