Topic
SuperCollider
About: SuperCollider is a research topic. Over the lifetime, 108 publications have been published within this topic receiving 1560 citations.
Papers published on a yearly basis
Papers
TL;DR: This paper presents an introduction to the field of live coding, of real-time scripting during laptop music performance, and the improvisatory power and risks involved, and looks at two test cases, the command-line music of slub utilising Perl and REALbasic, and Julian Rohrhuber's Just In Time library for SuperCollider.
Abstract: Seeking new forms of expression in computer music, a small number of laptop composers are braving the challenges of coding music on the fly. Not content to submit meekly to the rigid interfaces of performance software like Ableton Live or Reason, they work with programming languages, building their own custom software, tweaking or writing the programs themselves as they perform. Often this activity takes place within some established language for computer music like SuperCollider, but there is no reason to stop errant minds pursuing their innovations in general scripting languages like Perl. This paper presents an introduction to the field of live coding, of real-time scripting during laptop music performance, and the improvisatory power and risks involved. We look at two test cases, the command-line music of slub utilising, amongst a grab-bag of technologies, Perl and REALbasic, and Julian Rohrhuber's Just In Time library for SuperCollider. We try to give a flavour of an exciting but hazardous world at the forefront of live laptop performance.
311 citations
TL;DR: The reasons for building generative music systems and the forms of control attainable over algorithmic processes are investigated and four techniques for software control during live performance are introduced, namely presets, previewing, autopilot, and the powerful method of live coding.
Abstract: Live computer music is the perfect medium for generative music systems, for non-linear compositional constructions and for interactive manipulation of sound processing. Unfortunately, much of the complexity of these real-time systems is lost on a potential audience, excepting those few connoisseurs who sneak round the back to check the laptop screen. An artist using powerful software like SuperCollider or PD cannot be readily distinguished from someone checking their e-mail whilst DJ-ing with iTunes. Without a culture of understanding of both the laptop performer and current generation graphical and text-programming languages for audio, audiences tend to respond most to often gimmicky controllers, or to the tools they have had more exposure to – the (yawn) superstar DJs and their decks. This article attempts to convey the exciting things that are being explored with algorithmic composition and interactive synthesis techniques in live performance. The reasons for building generative music systems and the f...
82 citations
6 Jun 2007
TL;DR: A survey conducted in the autumn of 2006 with the objective to understand people's relationship to their musical tools focused on the question of embodiment and its different modalities in the fields of acoustic and digital instruments.
Abstract: This paper reports on a survey conducted in the autumn of 2006 with the objective to understand people's relationship to their musical tools. The survey focused on the question of embodiment and its different modalities in the fields of acoustic and digital instruments. The questions of control, instrumental entropy, limitations and creativity were addressed in relation to people's activities of playing, creating or modifying their instruments. The approach used in the survey was phenomenological, i.e. we were concerned with the experience of playing, composing for and designing digital or acoustic instruments. At the time of analysis, we had 209 replies from musicians, composers, engineers, designers, artists and others interested in this topic. The survey was mainly aimed at instrumentalists and people who create their own instruments or compositions in flexible audio programming environments such as SuperCollider, Pure Data, ChucK, Max/MSP, CSound, etc.
71 citations
Proceedings Article•
1 Jan 2011TL;DR: This demo paper describes the rationale and design of the ixi lang, a live coding language built on top of SuperCollider, and concludes that simple and constrained systems can be useful in specific musical contexts, in particular when sketching or improvising, but that such system can be limiting in the long run.
Abstract: This demo paper describes the rationale and design of the ixi lang, a live coding language built on top of SuperCollider The paper explains why SuperCollider is used for this task, and reports on a survey conducted with users of the language It concludes that simple and constrained systems can be useful in specific musical contexts, in particular when sketching or improvising, but that such systems can be limiting in the long run
64 citations
Related Topics (5)
Performance Metrics
| Year | Papers |
|---|---|
| 2021 | 4 |
| 2020 | 1 |
| 2019 | 4 |
| 2018 | 4 |
| 2017 | 5 |
| 2016 | 7 |