- List of Common Acronyms Found in the <i>Handbook</i>
- List of Software Found in the <i>Handbook</i>
- List of Games Found in the <i>Handbook</i>
- List of Contributors
- About the Companion Website
- Spatial Reconfiguration in Interactive Video Art
- Navigating Sound: Locative and Translocational Approaches to Interactive Audio
- Defining Sound Toys: Play as Composition
- Thinking More Dynamically about Using Sound to Enhance Learning from Instructional Technologies
- Acoustic Scenography and Interactive Audio: Sound Design for Built Environments
- The Unanswered Question of Musical Meaning: A Cross-domain Approach
- How Can Interactive Music be Used in Virtual Worlds Like <i>World of Warcraft</i>?
- Sound and the Videoludic Experience
- Designing a Game for Music: Integrated Design Approaches for Ludic Music and Interactivity
- Worlds of Music: Strategies for Creating Music-based Experiences in Videogames
- Embodied Virtual Acoustic Ecologies of Computer Games
- A Cognitive Approach to the Emotional Function of Game Sound
- The Sound of Being There: Presence and Interactive Audio in Immersive Virtual Reality
- Sonic Interactions in Multimodal Environments: An Overview
- Musical Interaction for Health Improvement
- Engagement, Immersion and Presence: The Role of Audio Interactivity in Location-aware Sound Design
- Multisensory Musicality in <i>Dance Central</i>
- Interactivity and Liveness in Electroacoustic Concert Music
- Skill in Interactive Digital Music Systems
- Gesture in the Design of Interactive Sound Models
- Virtual Musicians and Machine Learning
- Musical Behavior and Amergence in Technoetic and Media Arts
- Flow of Creative Interaction with Digital Music Notations
- Blurring Boundaries: Trends and Implications in Audio Production Software Developments
- Delivering Interactive Experiences through the Emotional Adaptation of Automatically Composed Music
- A Review of Interactive Sound in Computer Games: Can Sound Affect the Motoric Behavior of a Player?
- Interactive Spectral Processing of Musical Audio
- Let’s Mix it Up: Interviews Exploring the Practical and Technical Challenges of Interactive Mixing in Games
- Our Interactive Audio Future
- For the Love of Chiptune
- Procedural Audio Theory and Practice
- Live Electronic Preparation: Interactive Timbral Practice
- New Tools for Interactive Audio, and What Good they Do
Abstract and Keywords
This chapter explores the role of interactivity in electroacoustic concert music, defined as a subsection of contemporary classical music that embraces technology while retaining some element of live performance. It examines values traditionally associated with live performance, which provide a context for assessing the influence that interactivity has on liveness in concert settings. Four common models of interactivity are identified: the instrumental model, conductor model, reflexive model, and virtual-musician model. In addition, issues relating to alternative controllers, new instrumental interfaces, real-time processing, sound-file triggering, score following, and artificial intelligence systems are examined. The discussion is primarily concerned with the concertgoer’s perspective and the role that interactivity plays in that experience.
Mike Frengel holds B.A., M.A. and Ph.D. degrees in electroacoustic music composition from San Jose State University, Dartmouth College and City University, London, respectively. He has had the great fortune to study with Jon Appleton, Charles Dodge, Larry Polansky, Denis Smalley, Allen Strange, and Christian Wolff. His works have won international prizes and have been included on the Sonic Circuits VII, ICMC'95, CDCM Vol.26, 2000 Luigi Russolo and ICMC 2009 compact discs. Mike serves on the faculty of the music departments at Northeastern University and Boston Conservatory, where he teaches courses in music technology and composition.
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