Gamifying Sonic Interfaces: an Interactive Music Engine as a Music Production Tool
By Maria Kallionpää & Hans Peter Gasselseder
Augmented- and virtual reality environments (and instruments) are playing an increasingly important role in the classical music culture of today. Even the music genres leaning on a fixed performance tradition have been affected by them. For example, the art of contemporary opera has been influenced by composers´ and stage directors´ search for new modes of expression. The use of augmented reality technologies in a stage performance is part of this development. An illustrative example is Van der Aa´s opera “Sunken Garden”, in which the live action on stage is combined with a 3D projection. Moreover, human-computer interaction has become a vital part of composing: various composers design their own music systems. For example, Karlheinz Essl has created “Sequitur Generator” which he uses in a whole series of interactive compositions. Moreover, his “Lexicon Sonate” is an independent system that can generate music by itself almost infinitely. The purpose of this paper is to provide information on how the interactive music techniques usually associated with computer game music could benefit various music professionals, such as, for example, composers, performers and music producers. We will focus on techniques and technologies used in procedural music. Certain computer game scores and sound installations represent this genre, as well as electronic real-time-based compositions that may or may not require a human performer. In the context of interactive computer games, dynamic music systems directly react to the gamers´ actions. Automatisation challenges the form, rhythm, and harmony in a musical work. Instead of a closed entity, a dynamic music composition is a never-ending story with an infinite number of alternatives; it gets created again in every performance.
Maria begins by outlining the abstract, and states that the project can be applied to two types of object – a ‘fixed’ musical object (where the goal is for the player simply to play the piece accurately) and ‘process’ objects, where a higher degree of interactivity and creativity is required. She also gives us a (long) history of generative music, observing that Mozart and CPE Bach wrote music for dice.