- The Oxford Handbook of Computer Music
- Introduction: The Many Futures of Computer Music
- A Historical View of Computer Music Technology
- Early Hardware and Early Ideas in Computer Music: Their Development and Their Current Forms
- Sound Synthesis Using Computers
- Computational Approaches to Composition of Notated Instrumental Music: Xenakis and the Other Pioneers
- Envisaging Improvisation in Future Computer Music
- Computer Music: Some Reflections
- Some Notes on My Electronic Improvisation Practice
- Combining the Acoustic and the Digital: Music for Instruments and Computers or Prerecorded Sound
- Dancing the Music: Interactive Dance and Music
- Gesture and Morphology in Laptop Music Performance
- Sensor-Based Musical Instruments and Interactive Music
- Spatialization and Computer Music
- The Voice in Computer Music and Its Relationship to Place, Identity, and Community
- Algorithmic Synesthesia
- An Introduction to Data Sonification
- Generative Algorithms for Making Music: Emergence, Evolution, and Ecosystems
- Computational Modeling of Music Cognition and Musical Creativity
- Soundspotting: A New Kind of Process?
- Interactivity and Improvisation
- From Outside the Window: Electronic Sound Performance
- Empirical Studies of Computer Sound
- Toward the Gender Ideal
- Sound-Based Music 4 All
- Framing Learning Perspectives in Computer Music Education
- Appendix: A Chronology of Computer Music and Related Events
Abstract and Keywords
In this article, the author describes his improvisational electronic performance practice. He states that he has been doing this sort of thing for many years and has quite a few opinions about what works and what does not work when playing electronic instruments in conjunction with acoustic ones. This article discusses the things that the author has learned, which is probably a blend of authentic wisdom and crackpot prejudices. The author's improvisational music is in the San Francisco Bay Area tradition of improvised music, a genre with strong links to free jazz and European free improv, but with its own peculiar blend of these threads and others, from punk rock and “noise” to traditional Asian musics. This article deals with a beautiful philosophy of music that the author tries to keep it in mind as much as possible when playing.
Tim Perkis, musician
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