Links between sonification and generative music
Bibliographic Data
| ID | 11935962 |
|---|---|
| Authors | Mara Helmuth (Center of Computer Music, College-Conservatory of Music, University of Cincinnati, Cincinnati, OH, USA, corresponding author), Margaret Schedel (Stony Brook University, Stony Brook, NY, USA) |
| Year | 2022 |
| Volume | 47 |
| Issue | 2 |
| Pages | 215-242 |
| Publication date | 2022-03-19 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Interdisciplinary Science Reviews (JOURNAL) |
| Journal identifiers | ISSN: 0308-0188 • E-ISSN: 1743-2790 |
| Publisher | Taylor & Francis (PUBLISHER • GB) |
| DOI | 10.1080/03080188.2022.2035106 |
| OpenAlex | W4220768673 |
| Language | EN |
| References cited | 8 |
The authors investigate works by four composers who employed technology in the creation of music employing audification, sonification and algorithmic composition techniques. These compositions involve interdisciplinary collaborations either with scientific researchers, in the case of Annea Lockwood's Dusk and Carla Scaletti's hàgg, or artificial intelligence, in George Lewis's Voyager, and Bob Sturm's The Waters of Heanny. Each composer's choice of input data, custom-designed tools and personal compositional processes result in unique, expressive works that challenge the listener to expand their view of music and reality
Art · Composition (language · Generative grammar · George (robot · Human–computer interaction · Literature · Multimedia · Musical · Musical composition · Sonification · Visual arts · Architecture and Computational Design · Computer Science · Music Technology and Sound Studies · Tactile and Sensory Interactions · Artificial Intelligence
| Highly cited | No |
|---|