- 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
This article focuses on the use of motion-tracking technology to allow dancers to interact with music, a topic called interactive dance. Dance and music are commonly considered independent art forms. Yet, the relationship between them is as intimate as it is intricate. In many cultures, the two are so intertwined that they are inseparable. In contemporary Western culture, the most common dance performance situation involves dancers performing live to music played back from a fixed medium such as a CD or hard disk. Dancers follow the music, taking their cues from a predetermined, fixed sound world. Dancing and playing music as a single integrated process is not new; it is something human beings have done since time immemorial. Today, technology offers new forms of interaction between dance and other art forms. Motion-tracking technology can endow dancers with the ability to control sound, lighting, graphics, robotics, and other aspects of a live performance.
Wayne Siegel, Royal Academy of Music, Aårhus
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