David Kim-Boyle
Biographic Data
| ID | 1378984 |
|---|---|
| NAME | David Kim-Boyle |
| GIVEN NAMES | David |
| FAMILY NAME | Kim-Boyle |
| SIGNATURE | KIM-BOYLE D |
| AFFILIATIONS | David Kim-Boyle, Sydney Conservatorium of Music, University of Sydney, 1 Conservatorium Road, Sydney, NSW 2000, Australia.. |
| ORCID | 0000-0001-9150-675X |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2009 |
| LATEST PUBLICATION YEAR | 2019 |
| H-INDEX | 0 |
D Notations and the Immersive Score
The author discusses his use of generative three-dimensional notations for representing musical forms. Several key works, programmed in the Max/OpenGL platform, are described in detail, and the author discusses current development with Microsoft’s HoloLens. The author argues that such immersive technology promotes a physical engagement with the score in which the work is an emergent property of an open-ended play
Phonological and Musical Loops in Live Coding Performance Practice
This paper explores how various phenomena of working memory are actively drawn on and can provide useful insights into live coding performance practice. The author argues that the phonological coding processes that cognitive psychologists believe underscore how auditory information is retained and recollected in working memory can enrich our understanding of live coding performance practice, where loop-based processes often provide key structural…
Real-time Score Generation for Extensible Open Forms
While composers have often employed graphic scores and other extended notation systems to explore open-form, collaborative, and aleatoric musical processes, the notational forms themselves have traditionally been presented to performers through fixed, paper-based media. In this article, several compositions by the author are described in which dynamic scores are generated in real-time during a performance and projected for the performer to read f…
Network Musics
The rapid development of networking technologies has allowed composers to explore new ways of directly engaging participants in the exploration of musical environments and realization of new forms of musical expression. Several distinctive approaches to the musical application of networks will be outlined, each of which is mediated and conditioned by the technical and aesthetic foundations of the network technologies themselves. Recent work in th…
No prominent works on this page.
Network Musics
The rapid development of networking technologies has allowed composers to explore new ways of directly engaging participants in the exploration of musical environments and realization of new forms of musical expression. Several distinctive approaches to the musical application of networks will be outlined, each of which is mediated and conditioned by the technical and aesthetic foundations of the network technologies themselves. Recent work in th…
Real-time Score Generation for Extensible Open Forms
While composers have often employed graphic scores and other extended notation systems to explore open-form, collaborative, and aleatoric musical processes, the notational forms themselves have traditionally been presented to performers through fixed, paper-based media. In this article, several compositions by the author are described in which dynamic scores are generated in real-time during a performance and projected for the performer to read f…
Phonological and Musical Loops in Live Coding Performance Practice
This paper explores how various phenomena of working memory are actively drawn on and can provide useful insights into live coding performance practice. The author argues that the phonological coding processes that cognitive psychologists believe underscore how auditory information is retained and recollected in working memory can enrich our understanding of live coding performance practice, where loop-based processes often provide key structural…
D Notations and the Immersive Score
The author discusses his use of generative three-dimensional notations for representing musical forms. Several key works, programmed in the Max/OpenGL platform, are described in detail, and the author discusses current development with Microsoft’s HoloLens. The author argues that such immersive technology promotes a physical engagement with the score in which the work is an emergent property of an open-ended play
Art (4 works) · Visual arts (4 works) · Computer Science (3 works) · Music Technology and Sound Studies (3 works) · Musical (3 works) · Human–computer interaction (2 works) · Linguistics (2 works) · Multimedia (2 works) · Neuroscience and Music Perception (2 works) · Notation (2 works)