On the creative use of score following and its impact on research

Score following research is one of the active disciplines of sound and music computing since almost 30 years that have haunted both algorithmic and computational development in realtime music information retrieval, as well as artistic applications in interactive computer music. This paper explores the creative use of such technologies and brings attention to new scientific paradigms that emerge out of their artistic use. We show how scientific and artistic goals of score following systems might differ and how the second, continuously helps re-think the first. We focus mostly on the musical goals of score following technologies which brings us to an underestimated field of research, despite its obviousness in creative applications, which is that of synchronous reactive programming and its realization in Antescofo.

[1]  Robert Rowe,et al.  Machine Musicianship , 2001 .

[2]  Joel Chadabe,et al.  Interactive Composing: An Overview , 1984, ICMC.

[3]  Barry Vercoe,et al.  The Synthetic Performer in The Context of Live Performance , 1984, International Conference on Mathematics and Computing.

[4]  Christopher Raphael,et al.  Evaluation of Real-Time Audio-to-Score Alignment , 2007, ISMIR.

[5]  Roger B. Dannenberg,et al.  A Workstation in Live Performance: Composed Improvisation , 1986, ICMC.

[6]  Christopher Raphael.  The informatics philharmonic , 2011, CACM.

[7]  Miller Puckette,et al.  Score Following in Practice , 1992, ICMC.

[8]  Arshia Cont,et al.  A Coupled Duration-Focused Architecture for Real-Time Music-to-Score Alignment , 2010, IEEE Transactions on Pattern Analysis and Machine Intelligence.

[9]  Joseph T. Chung,et al.  Hyperinstruments: Musically Intelligent and Interactive Performance and Creativity Systems , 1989, ICMC.

[10]  Jean-Claude Risset.  Composing in real-time? , 1999 .

[11]  Christopher Raphael,et al.  Music Plus One: A System for Expressive and Flexible Musical Accompaniment , 2001, ICMC.

[12]  Arshia Cont,et al.  Antescofo: Anticipatory Synchronization and control of Interactive parameters in Computer Music , 2008, ICMC.

[13]  Robert Rowe,et al.  Interactive Music Systems: Machine Listening and Composing , 1992 .

[14]  François-Xavier Dormoy,et al.  SCADE 6 A Model Based Solution For Safety Critical Software Development , 2007 .

[15]  Marco Stroppa.  Live electronics or…live music? Towards a critique of interaction , 1999 .

[16]  Miller Puckette.  Using Pd as a score language , 2002, ICMC.

[17]  Neil R. Storey,et al.  Safety-critical computer systems , 1996 .

[18]  Nicolas Halbwachs,et al.  Synchronous Programming of Reactive Systems , 1992, CAV.

[19]  Roger B. Dannenberg,et al.  An On-Line Algorithm for Real-Time Accompaniment , 1984, ICMC.