No cautious, creative person starts a project nowadays without a back-up strategy...it is wise to... more No cautious, creative person starts a project nowadays without a back-up strategy...it is wise to maintain a living archive of all work. [1] Acousmatic composition begins with source material that is processed and reflected upon. Given a set of concrete sources and a set of build instructions it is theoretically possible to compile a composition from a limited number of critical initial sounds. This is analogous to the build process for software. By modifying existing compositional tools such that decisions and parameters are recorded, we construct a set of build instructions that reproduce the finished work from original source. Using version control with this methodology to track and record development it is possible to explore a trace of the composition process and use some of the features of the latest version control systems such as branching, tagging and merging. We demonstrate a methodology for composition that enables the composer to use version control effectively and in so...
Journal of Music, Technology & Education, 2008
This article contributes towards knowledge and understanding of the creative use of software and ... more This article contributes towards knowledge and understanding of the creative use of software and hardware tools for computer music. It stems from a need to reassess strategic spending within an academic department on music IT, and an interest in the advantages of open source software for managing musical and collaborative projects. The authors discuss the most practical way of assessing the use of Linux, a completely open source software platform with the aim of understanding how compositional paradigms migrate between computer operating systems, noting similarities between systems, and highlighting strengths and weaknesses of the process.It is apparent that the Linux platform has much to offer, but remains limited in a number of areas of music IT that are used extensively in academia, industry and at home. However, as a platform for teaching and learning computer music it is an ideal tool, though we conclude that some introduction at the outset is required for those who are uniniti...
This paper outlines some of the rapid changes taking place in electroacoustic music performance a... more This paper outlines some of the rapid changes taking place in electroacoustic music performance and introduces the M2 diffusion system, currently in use at The University of Sheffield Sound Studios (USSS). The paper focuses upon a process commonly known as 'sound diffusion' and the performance of music usually played from CD or computer. The M2 system comprises bespoke software and hardware tools offering greater flexibility and improvisation in performance and new approaches to the musical composition of space. The paper speculates upon the future of the M2 system with SuperDiffuse software, and the new 'composition opportunities' it has triggered.
This paper presents an empirical study of electroacoustic music composers at work, using qualitat... more This paper presents an empirical study of electroacoustic music composers at work, using qualitative research methods. The study is based on experiments in which composers were commissioned to work on pieces using their own familiar software and hardware ...
Proceedings of the International Computer Music …, 2008
This paper questions whether it is possible to integrate free (or controlled) improvisation with ... more This paper questions whether it is possible to integrate free (or controlled) improvisation with electroacoustic materials with pre-composed soundfiles in a 'live' performance. It contributes to the on-going debate about the role of the performer and the advantages and ...
Our musical history continues to expand at a rapid pace. Aesthetic boundaries are stretched to th... more Our musical history continues to expand at a rapid pace. Aesthetic boundaries are stretched to their limits and we begin to question if they exist at all. Yet we remain interested and excited by develop-ments, both technical and aesthetic, in sound and it seems obvious that both ...
... Guy J. Brown, Department of Computer Science, University of Sheffield, Sheffield, UK. AdrianM... more ... Guy J. Brown, Department of Computer Science, University of Sheffield, Sheffield, UK. AdrianMoore, Department of Music, University of Sheffield, Sheffield, UK. Acknowledgements. ... The particular area of creative activity studied was electroacoustic music composition. ...
Abstract This article contributes towards knowledge and understanding of the creative use of soft... more Abstract This article contributes towards knowledge and understanding of the creative use of software and hardware tools for computer music. It stems from a need to reassess strategic spending within an academic department on music IT, and an interest in the advantages of open ...
This paper questions whether it is possible to integrate free (or controlled) improvisation with ... more This paper questions whether it is possible to integrate free (or controlled) improvisation with electroacoustic materials with pre-composed soundfiles in a 'live' performance. It contributes to the on-going debate about the role of the performer and the advantages and ...
No cautious, creative person starts a project nowadays without a back-up strategy...it is wise to... more No cautious, creative person starts a project nowadays without a back-up strategy...it is wise to maintain a living archive of all work. [1] Acousmatic composition begins with source material that is processed and reflected upon. Given a set of concrete sources and a set of build instructions it is theoretically possible to compile a composition from a limited number of critical initial sounds. This is analogous to the build process for software. By modifying existing compositional tools such that decisions and parameters are recorded, we construct a set of build instructions that reproduce the finished work from original source. Using version control with this methodology to track and record development it is possible to explore a trace of the composition process and use some of the features of the latest version control systems such as branching, tagging and merging. We demonstrate a methodology for composition that enables the composer to use version control effectively and in so...
Journal of Music, Technology & Education, 2008
This article contributes towards knowledge and understanding of the creative use of software and ... more This article contributes towards knowledge and understanding of the creative use of software and hardware tools for computer music. It stems from a need to reassess strategic spending within an academic department on music IT, and an interest in the advantages of open source software for managing musical and collaborative projects. The authors discuss the most practical way of assessing the use of Linux, a completely open source software platform with the aim of understanding how compositional paradigms migrate between computer operating systems, noting similarities between systems, and highlighting strengths and weaknesses of the process.It is apparent that the Linux platform has much to offer, but remains limited in a number of areas of music IT that are used extensively in academia, industry and at home. However, as a platform for teaching and learning computer music it is an ideal tool, though we conclude that some introduction at the outset is required for those who are uniniti...
This paper outlines some of the rapid changes taking place in electroacoustic music performance a... more This paper outlines some of the rapid changes taking place in electroacoustic music performance and introduces the M2 diffusion system, currently in use at The University of Sheffield Sound Studios (USSS). The paper focuses upon a process commonly known as 'sound diffusion' and the performance of music usually played from CD or computer. The M2 system comprises bespoke software and hardware tools offering greater flexibility and improvisation in performance and new approaches to the musical composition of space. The paper speculates upon the future of the M2 system with SuperDiffuse software, and the new 'composition opportunities' it has triggered.
This paper presents an empirical study of electroacoustic music composers at work, using qualitat... more This paper presents an empirical study of electroacoustic music composers at work, using qualitative research methods. The study is based on experiments in which composers were commissioned to work on pieces using their own familiar software and hardware ...
Proceedings of the International Computer Music …, 2008
This paper questions whether it is possible to integrate free (or controlled) improvisation with ... more This paper questions whether it is possible to integrate free (or controlled) improvisation with electroacoustic materials with pre-composed soundfiles in a 'live' performance. It contributes to the on-going debate about the role of the performer and the advantages and ...
Our musical history continues to expand at a rapid pace. Aesthetic boundaries are stretched to th... more Our musical history continues to expand at a rapid pace. Aesthetic boundaries are stretched to their limits and we begin to question if they exist at all. Yet we remain interested and excited by develop-ments, both technical and aesthetic, in sound and it seems obvious that both ...
... Guy J. Brown, Department of Computer Science, University of Sheffield, Sheffield, UK. AdrianM... more ... Guy J. Brown, Department of Computer Science, University of Sheffield, Sheffield, UK. AdrianMoore, Department of Music, University of Sheffield, Sheffield, UK. Acknowledgements. ... The particular area of creative activity studied was electroacoustic music composition. ...
Abstract This article contributes towards knowledge and understanding of the creative use of soft... more Abstract This article contributes towards knowledge and understanding of the creative use of software and hardware tools for computer music. It stems from a need to reassess strategic spending within an academic department on music IT, and an interest in the advantages of open ...
This paper questions whether it is possible to integrate free (or controlled) improvisation with ... more This paper questions whether it is possible to integrate free (or controlled) improvisation with electroacoustic materials with pre-composed soundfiles in a 'live' performance. It contributes to the on-going debate about the role of the performer and the advantages and ...
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Papers by Adrian J Moore