The relationship between tempo and delay and its effect on musical performance

&nbsp;J. Acoust. Soc. Am. Volume 88, Issue S1, pp. S71-S71 (1990);<br />
(1 page) Bob Willey&nbsp; Ctr. for Music Experiment, Q‐037, Univ. of California, La Jolla, CA 92093 <br />
<br />
A study was made into the effects of delayed auditory feedback on
musical performance. Subjects heard their performance with various
lengths of delay while playing at various tempi. This allowed for an
investigation into the possible disturbing effects of delayed auditory
feedback caused by different combinations of tempo and delay.<span style="color: yellow;"> Delay was
most disturbing when its length was in a ratio with metronome beat
length between 1:2 and 1:1. “Consonant” ratios were the least
disturbing, with 2:1 and 3:1 as easy, or easier than the “fundamental”
ratio of 1:1.</span> This is in contradistinction to findings in speech
research where the greatest disruption occurred when there is
approximate equality between delay and syllable length. Research in
delayed auditory feedback with speech has been more concerned with an
absolute worst case for delay independent of rate. The results of this
study are consistent with previous research that showed<span style="color: yellow;"> the most
disturbing delay for music performance to be between 200 and 300 ms</span>. In
addition they support the hypothesis that disturbance depends on the
ratio between the lengths of delay and beat. The implications for music
performance are discussed, including the effect of pitch transformation
during computer‐mediated improvisation.<br />
<br />
<a href="http://dx.doi.org/10.1121/1.2029127">http://dx.doi.org/10.1121/1.2029127</a>

Music and Computers by the JSyn folks

Music and Computers: Music and Computers
A Theoretical and Historical Approach

Phil Burk, SoftSynth.com
Larry Polansky, Department of Music, Dartmouth College
Douglas Repetto, Computer Music Center, Columbia University
Mary Roberts
Dan Rockmore, Department of Mathematics, Dartmouth College

An online textbook with JSyn Applets by Larry Polansky, Douglas Repetto, Mary Roberts, Dan Rockmore and Phil Burk has been re-released as a free resource.

play with this,,,

now . . . .SoftSynth, music and computers play

What is a Kim 1?

Here's a whole lotta info on the first micro computer... aka laptop. Used for the creation of the League of Automatic Music Composers which  lead into The Hub.

Click here for more info!
 Simple Microcomputers and Trainers

· · · CROSSFADE· · · Chris Brown & John Bischoff

history of the Hub and More!

An in depth article  by Chris Brown & John Boschoff

· · · CROSSFADE· · · Chris Brown & John Bischoff

Interview with Sergi Jorda/F@ust Music Online

Sergi Jorda/F@ust Music Online interview. by Alessandro Ludovico

How many people concurred to F@ust Music Online?
From 98-01-18 to 98-04-16 (the date in which the reception of pieces for the show concluded), more than 1,100 brief pieces by around 100 composers were submitted, but the core of assiduous participants was no more than 20. These constituted a virtual family, which communicated every night, exchanging sounds, creating music collectively, without knowing each other. They were the FMOL junkies; creators who spent several hours a week during a three months period, and with whom I exchanged numerous technical and esthetical e-mails. Given the SGAE promotion, this influx may seem somewhat poor, but the existence of this selected and faithful core group was enough to justify all effort involved. When conceiving FMOL, one of my personal aims was to conceive an engine and a graphical interface that could be attractive to both trained and untrained electronic musicians. And I think that this goal was fully attained. We now know that several of these "faithful" participants had not a prior contact with experimental electronic music; a few were even composing for the first time, but all of them, took it, however, as a really serious game, and the final quality level of the contributions was really amazing. On the other side, I would like to say that during this period, I did also receive many e-mails from more orthodox composers, puzzled and confused by that crazy piece of software, but who still wanted to collaborate with La Fura in a more traditional manner.

 
more: Neural.it: Sergi Jorda/F@ust Music Online interview.

Net music for everyone!

The computer, for many years a music laboratory only for highly specialized technologists, by now being networked has become a sphere of musical creativity for a wide clientele. Experimental artists from the techno-scene and jamming synthetic rock musicians, software specialists with a systemic mind and conceptual media artists are presented, as are classical, academic composers. The Net serves to exchange music software, audio files and know-how, people link up to make music though they are located all over the world, web pages turn amateurs into ad hoc musical interpreters - every household is a potential recording studio, every computer is a transmitting and receiving station with a global audience.

The net_musician area examines the concept of listening to music in the public of the Net. The question is whether human-machine interaction, hypertext principles, intimacy within the scope of telematics and new social structures on the Net change our concept of music?

Peter Traub's Bits & Pieces, which is a fully automatic composition software, scours the Net every day for audio files and constantly produces small musical images of the "Internet archive". DJ Spooky's animated Techno-Game AbsolutDJ demands not only musical skills from the player, but also composed combination talent. In Dumb Angel Klaus Gasteier transfers the hypertext principle of the WWW to the interactive composition process of the mysterious, never published Beach Boys' legacy "SMiLE". In the virtual studios of the public midi-pool of Res Rocket Surfer musicians with computers and keyboards link up for intercontinental jam sessions. Sergi Jordˆ's intuitive sound creation FMOL (F@ust Music Online), which was produced for La Fura Dels Baus' Faust 3.0, stores small musical pieces in a network database, which can be exchanged and developed by different generations. Finally, the links page hudba 3000 / summer 99 makes a tour through musical activity zones on the Net and gently encourages the visitor to participate bravely. The starting point is the summer 99 project by sha, which was organized in collaboration with the exhibition HD - High Density in Berlin.

Golo Föllmer

 

Please visit the net music web site.

more:Net music for everyone!

Laurie Spiegel's "Sediment" in The Hunger Games: How the new movie righted a musical wrong

Yesterday on Wired.com, Geeta Dayal spoke with the composer and electronic-music pioneer Laurie Spiegel. The reason? A bit of Spiegel’s 1972 piece “Sediment” has cropped up in the film adaptation of The Hunger Games. A 9-minute slice of pure atmospheric portent, “Sediment” is a perfect fit for any dystopian flick. Unlike a great deal of self-styled “experimental” music, it manages to deploy a mood of grimness with a counter-intuitively light touch.

More:  Laurie Spiegel's "Sediment" in The Hunger Games: How the new movie righted a musical wrong: 1972

Culture Hub in NYC

CultureHub is an incubator for creativity focused on the intersection of art and technology. We connect artists from diverse disciplines and cultures and provide them with environments in which to collaborate, experiment and explore. We serve local and global communities by providing an open space for creative research, artistic exchange and learning.

Founded in 2009 by the Seoul Institute of the Arts in Korea and La MaMa Experimental Theatre Club in New York City, CultureHub currently consists of four telepresence studios: 1. Seoul Institute of the Arts(Seoul/Korea) 2. La MaMa Experimental Theater Club (New York City/USA) 3. Calarts (Los Angeles/USA) 4.Contact Theatre (Manchester, UK)

VISION

Our vision is to bring artists from diverse disciplines and cultures together to explore art and technology as a means for developing new forms of expression, sharing creative experiences and promoting global collaboration, learning and innovation.

MISSION

Our mission is to provide a shared space for artists to collaborate, share ideas and create interdisciplinary works of art that explore emerging mediums and technologies.

CORE VALUES

- Pushing boundaries
- Breaking down silos
- Investing in artists
- Inclusiveness
- Global artistic exchange
- Synthesizing art and technology

In Search of True Scenius: What is it?

Coined by musical savant Brian Eno, it refers to his discovery that genius doesn’t simply arise in extraordinary individuals but geniuses emerge out of vibrant, cutting edge “scenes” or cultural niches where a group of people, often crossing disciplines and areas of expertise, are pushing into something new and rewarding each other for taking risks and challenging the status quo...
more: In Search of True Scenius: 1. What is it? : EnlightenNext: The Magazine for Evolutionaries

Pauline Oliveros Interview by Cory Arcangel for BOMB Magazine:

Cory Archangel: A What keeps pushing you to drive in these directions which haven’t been driven in before? To take what you just said as an example, video telephones certainly were not designed for small musical ensembles, but you decided to push the technology in that way. And now you’re working with DARPA technology to organize multi-site performances. These technologies were not designed for these uses, and yet you have continually bent them to your vision.

Pauline Oliveros: I could fall off the cliff. What keeps me going is the interest and excitement. It’s very amazing to work with people in that way, and it’s also very difficult. I do believe that relationships are the Wild West, and that working physically and virtually is part of developing a more peaceful world. This has to be learned through listening and negotiating. Improvised music is a great model for community building and reconciling differences. My work with Deep Listening supports this idea. A community of Deep Listeners has grown out of the summer retreats and workshops are given in many places in the world. People who listen together grow and expand together.

 Full Interview here: BOMB Magazine: Pauline Oliveros by Cory Arcangel

Salmon from Episode 6

While visiting my father a number of years ago, I helped him cold smoke salmon. The technique was a melding of many minds and picked up by my father on one of his cooking forms. This set my mind to thinking about the concreate ways online actives are opportunities for cultural exchanges.

Tips for making networked music!

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