Much improvised music that has developed since the advent of free jazz has been concerned with the imposition of structure, often through systems of directed improvisation, or through the use of rule-based approaches (e.g., game pieces). In this article, we explore the possibility of a networked live-coding system as a structural intervention mechanism par excellence, through the discussion of two pieces from the repertoire of the Birmingham Ensemble for Electroacoustic Researc
This research project explores Dialogic Coding – a performance practice situated within the field o...
In this essay I explore the creation of interactive, improvising computer partners. I consider diffe...
International audienceThis title quote from saxophonist Tony Malaby illustrates musicians’ experienc...
We discuss the connection between free-jazz music and service-oriented computing, and advance a meth...
The Free Jazz genre has many interpretations and takes different forms from one musician to another,...
The Free Jazz genre has many interpretations and takes different forms from one musician to another,...
Hession/McLean is a free improvising duo that confounds the usual classifications of musical genres....
In this paper we present our experience of having a live coder amongst acoustic musicians in a free ...
The aim of this doctoral project has been to study so-called non-idiomatic improvisation in ensemble...
All Copyright remains with the author © Copyright 2007This paper discusses developments of ENSEMBLE,...
The evolution of networked audio technologies has created unprecedented opportunities for musicians ...
The British free improvisation scene originated in London and Sheffield during the mid 1960s. In gro...
This is the final version of the article. Available from the publisher via the link in this record.T...
In the past 20 years, jazz educators and researchers have expanded the use of technology to understa...
This paper proposes attributes of a living computer music, the product of a live algorithm. It illus...
This research project explores Dialogic Coding – a performance practice situated within the field o...
In this essay I explore the creation of interactive, improvising computer partners. I consider diffe...
International audienceThis title quote from saxophonist Tony Malaby illustrates musicians’ experienc...
We discuss the connection between free-jazz music and service-oriented computing, and advance a meth...
The Free Jazz genre has many interpretations and takes different forms from one musician to another,...
The Free Jazz genre has many interpretations and takes different forms from one musician to another,...
Hession/McLean is a free improvising duo that confounds the usual classifications of musical genres....
In this paper we present our experience of having a live coder amongst acoustic musicians in a free ...
The aim of this doctoral project has been to study so-called non-idiomatic improvisation in ensemble...
All Copyright remains with the author © Copyright 2007This paper discusses developments of ENSEMBLE,...
The evolution of networked audio technologies has created unprecedented opportunities for musicians ...
The British free improvisation scene originated in London and Sheffield during the mid 1960s. In gro...
This is the final version of the article. Available from the publisher via the link in this record.T...
In the past 20 years, jazz educators and researchers have expanded the use of technology to understa...
This paper proposes attributes of a living computer music, the product of a live algorithm. It illus...
This research project explores Dialogic Coding – a performance practice situated within the field o...
In this essay I explore the creation of interactive, improvising computer partners. I consider diffe...
International audienceThis title quote from saxophonist Tony Malaby illustrates musicians’ experienc...