We explore the use of the Spiral Array spatial visualization of tonal evolution through time for the visual analysis of P.D.Q. Bach’s The ShortTempered Clavier. In particular, we analyze situations in which we can see some of the humour devices abstracted in an earlier study by David Huron. We conclude that although we can see a good number of Schickele’s humour devices − such as incongruent st...

Technologies for discovering sounds in large databases can help breaking the boundary between exploration and music performance. In this paper, we present a system for exploring loops from Freesound. Sound files are grouped by their most common repetition periods, so that they can be played in sync. A graph layout algorithm is used to organize sounds in a two-dimensional plane so that loops wit...

The artificially intelligent computer performer is a software program that enables a computer to accompany, in real-time, live performers. The computer is, in effect, a participating member of a musical ensemble. It interacts with the musicians by listening to them and it makes musical decisions based on what it hears and what it Imows about music. The computer performer uses parallel processin...

The ideas explored here are based on questioning some common assumptions in the usual conceptual models of hybrid (NIME-style) instrument design, and thinking and playing through the implications of these alternate strategies in theory and implementation. They include: varying the mappings between controller input and changing them on the fly in performance, e.g. by gradually entangling or dise...

This paper discusses practice-based research in the context of live performance with interactive systems. Practicebased research is outlined in depth, with key concepts and approaches contextualised with respect to research in the NIME field. We focus on two approaches, both of which are concerned with documenting, examining and reflecting on the real-world behaviours and experiences of people ...

To build electronic musical instruments, a mapping between the real-time audio processing software and the physical controllers is required. Different strategies of mapping were developed and discussed within the NIME community to improve musical expression in live performances. This paper discusses an interface focussed instrument design approach, which starts from the physical controller and ...

We have seen many new and exciting developments in new interfaces for musical expression. In this paper we present the design of an interface for remote group music improvisation and composition – Daisyphone. The approach relies on players creating and editing short shared loops of music which are semi-synchronously updated. The interface emphasizes the looping nature of the music and is design...

In site-specific installation or situated media, a significant part of the "I" in NIME is the environment, the site and the implicit features of site such as humans, weather, materials, natural acoustics, etc. These could be viewed as design constraints, or features, even agency determining the outcome of responsive sound installation works. This paper discusses the notion of interface in publi...

This paper presents a description of our submission to the C@merata task in MediaEval 2015. This submission is a revision to the system submitted for the same task in MediaEval 2014 including some bug fixing. The system answers the natural language queries over the musical scores. The approach is based upon two main steps: identifying the musical entities and relations present in the query, and...

This extended abstract discusses our pattern discovery algorithm submitted to the MIREX 2013 Discovery of Repeated Themes & Sections task. This algorithm estimates the musical patterns by finding specific repetitions within a piece and applying certain perceptually inspired rules. Four different versions of the algorithm were submitted: two that take an audio track as an input (monophonic and p...