Music one participates in

Digital music has undergone fundamental shifts -- it has gone real time, it has become interactive, it has become miniaturized, and completely democratized. I'll map out my personal trajectory in this time to look at broader evolutions in the field with sensors, networks, and mobility. These are not just technological changes, but changes that bring about shifts in musical approaches. Form factors change, analogue is reconciled with digital, and new directions in Open Source and DIY culture continue to challenge our assumptions on what it means to be an artist, composer, performer, participant, in these evolving musical/technological landscapes.

[1]  Kazuhiro Jo,et al.  An ecology of practice: chiptune marching band , 2009, C&C '09.

[2]  Kazuhiro Jo,et al.  Transition of instruments in The SINE WAVE ORCHESTRA , 2008, CIE.

[3]  C. Bishop Participation: Documents of Contemporary Art , 2006 .

[4]  D. Polan,et al.  Noise: The Political Economy of Music , 1989 .

[5]  Atau Tanaka,et al.  The Music Participates In , 2009 .

[6]  Christopher Small Musicking: The Meanings of Performing and Listening , 1999 .

[7]  A. Blasi,et al.  Dramas, Fields, and Metaphors: Symbolic Action in Human Society by Victor Turner. Ithaca: Cornell University Press and Peyote Hunt: The Sacred Journey of the Huichol Indians by Barbara G. Myerhoff. Ithaca: Cornell University Press , 1974 .

[8]  D. Seed THE POETICS OF THE OPEN WORK , 1991 .

[9]  Bert Bongers,et al.  An Interview with Sensorband , 1998 .

[10]  S. Arnstein,et al.  Ladder of Citizen Participation , 2020 .

[11]  Franziska Schroeder Performing Technology: User Content and the New Digital Media , 2009 .

[12]  J. Harding Contours of the Theatrical Avant-Garde: Performance and Textuality , 2000 .

[13]  Kazuhiro Jo,et al.  The SINE WAVE ORCHESTRA stay , 2005, MULTIMEDIA '05.

[14]  J. J. Fourier,et al.  The Analytical Theory of Heat , 2009 .

[15]  Etienne Wenger,et al.  Situated Learning: Legitimate Peripheral Participation , 1991 .

[16]  Atau Tanaka Mapping Out Instruments, Affordances, and Mobiles , 2010, NIME.

[17]  Atau Tanaka,et al.  Net_Dérive: Conceiving and Producing a Locative Media Artwork , 2009 .

[18]  Sidney Fels,et al.  Collaborative Musical Experiences for Novices , 2003 .

[19]  Bert Bongers,et al.  Electronic Musical Instruments: Experiences of a New Luthier , 2007, Leonardo Music Journal.

[20]  E. Goffman The Presentation of Self in Everyday Life , 1959 .

[21]  Marcelo M. Wanderley,et al.  The importance of parameter mapping in electronic instrument design , 2002 .

[22]  Atau Tanaka,et al.  Global String: A Musical Instrument for Hybrid Space , 2002, ICMC.

[23]  Andrew Keen,et al.  Book Review: Andrew Keen, The Cult of the Amateur: How Today's Internet Is Killing Our Culture and Assaulting Our Economy. London and Boston, MA: Currency/Doubleday, 2007. 228 pp. ISBN 0—3855—2080—8, $22.95 (pbk) , 2008, New Media Soc..

[24]  Atau Tanaka Sensor-Based Musical Instruments and Interactive Music , 2011 .

[25]  Derek Bailey Improvisation: Its nature and practice in music , 1980 .

[26]  V. Turner Dramas, Fields, and Metaphors: Symbolic Action in Human Society , 1975 .