An Introduction to Interactive Music for Percussion and Computers

Abstract

Composers began combining acoustic performers with electronically produced sounds in the early twentieth century. As computer-processing power increased the potential for significant musical communication was developed. Despite the body of research concerning electronic music, performing a composition with a computer partner remains intimidating for performers. The purpose of this paper is to provide an introductory method for interacting with a computer. This document will first follow the parallel evolution of percussion and electronics in order to reveal how each medium was influenced by the other. The following section will define interaction and explain how this is applied to musical communication between humans and computers. The next section introduces specific techniques used to cultivate human-computer interaction. The roles of performer, instrument, composer and conductor will then be defined as they apply to the human performer and the computer. If performers are aware of these roles they will develop richer communication that can enhance the performer's and audience member's recognition of human-computer interaction. In the final section, works for percussion and computer will be analyzed to reveal varying levels of interaction and the shifting roles of the performer. Three compositions will illustrate this point, 120bpm from neither Anvil nor Pulley by Dan Trueman, It's Like the Nothing Never Was by Von Hansen, and Music for Snare Drum and Computer by Cort Lippe. These three pieces develop a continuum of increasing interaction, moving from interaction within a fully defined score, to improvisation with digital synthesis, to the manipulation of computerized compositional algorithms using performer input. The unique ways each composer creates interaction will expose the vast possibilities for performing with interactive music systems.