- 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
The primordial human practice of improvisation is found at the uninterrogated core of common notions of interactivity as it is practiced in the digital domain. The need to exnominate improvisation here is due largely to the problematic status of improvisation, not only in the high-culture, pan-European art practice that most theorists and researchers assume as a primary cultural and historical background for art production, but also in everyday constructions of morality and integrity that are active in many Western social spheres. As improvisation becomes the subject of a burgeoning area of inquiry in the arts, humanities, and sciences, the practitioners of interactive computer music can be found in the new century situated at this core nexus of improvisation and interactivity, combining sonorous and sensuous experiences with critical spaces for considering the nature of human interaction.
George E. Lewis, Columbia University
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