Max/MSP Research Papers - Academia.edu (original) (raw)

This project presents a model to sonify data. It uses a multichannel audio system to create a spatial illusion of the presence of the sound source. This in order to present with a way of translating information from other domains into... more

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- Technology, Sonic Art, Sound, Sonification
- by Alessandro Raeli
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- Music Education, Aesthetics, Music Technology, Music Aesthetics

The explosion of 20th-century technology, especially in the second half (IBM Computers), initially helped Universities & Research Centers to study a wide range of scientific fields. People like Max Mathews and John Chowning, using the programming languages of the time (e.g. MUSIC-V), researched and developed theories which become part of our music culture through a plethora of Synthesizers (Yamaha DX7, PPG Wave, etc.). This development has led us today to the combination of Hardware and Inside the Box philosophy (DAW, plug-ins, VST-i), with many of the VST-i inevitably inspired by Hardware Synthesizers.
This thesis examines four of the primary sound synthesis techniques (Additive, Subtractive, FM, Wavetable) and helps the user apply them to a synthesizer. My goal is not to create an "ultimate" synthesizer, but through the simple synthesizers (Max Patches) that I developed, to understand better the behaviour of sound synthesis techniques and how synthesizers work.

- by Alexandros K Papaefthymiou
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- Music Technology, Sound Synthesis, Max/MSP/Jitter, Max/MSP

The rapid advance of handheld and head-mounted mixed reality technologies comes with many opportunities to integrate 3D visualizations on top of screen-based 2D technologies for immersive analytics, such as the ability to walk through particle data. However, while mixed reality devices can render virtual worlds into the three dimensional space of the physical world, integrating these devices with 2D immersive technologies is fundamentally constrained by the limited computing and networking resources of energy-efficient mobile devices. Towards a better understanding of these limitations, we design and implement a distributed particle rendering framework to bridge mobile mixed-reality devices with an immersive screen-based stage environment using a Microsoft HoloLens, an NVIDIA Shield Tablet, and a multi-projector immersive data visualization environment. Using our framework, we characterize rendering and networking constraints of the devices involved in the hybrid data visualization. We propose strategies to operate within these constraints to provide rich immersive 3D visualizations through dynamic partitioning and selective rendering of data-visualization workloads across 2D and 3D devices.

- by Ted J. Liu and +1
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- Augmented Reality, 3D visualisation, Max/MSP/Jitter, Mobile Systems

The portfolio contains seven compositions with varying instrumentation, ranging from string quartet to computer processed voice ensemble to purely electronic forces. Fata Morgana is the largest work in the portfolio and written for female voice ensemble, percussion and live computer processing or tape. Its main concern is that of extending the human voice via the auditory illusion of the Shepard’s tone. String Quartet No 1 contains excessive glissade to expose microtonal qualities. Haute Rorschach, When all memory is gone, Drift, Gala and Mutation 2 all explore complex and unique microtonal tuning systems and are written with instrumentation left relatively open ended: given certain conditions, both acoustic and electronic forces are able to perform it.
The most prominent compositional aspect that features in the portfolio is an approach towards the experience of movement in terms of colour, form, texture and space. Material consists of lines and curves such as glissandi or the Shepard’s tone auditory illusion, pitch fields, waves, pulses, flickering morphologies, distorted glows, morphs and slow transformations. This material originates from focusing on the internal properties of sounds, for example, the use of microtonal intervals that are clustered to produce beating patterns, third tones and unique colors. Macro forms are determined by this material and range from drone to simplistic, repetitive gestures. The final approach is a focus on the experience of sound in and as space: most pieces feature artificial acoustics as prominent part of the material and overall texture.

- by Cobi van Tonder
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- Musical Composition, Sonic Art, Microtonal Music, Minimalism

Since Barry Truax’s early pioneering work, the increasing availability of powerful and inexpensive desktop computers has led many composers, researchers and artists to experiment and work with granular synthesis and/or granulation processes. During the last two decades a stream of granulation software has appeared, but despite this spread, all these applications have important limitations in terms of efficiency, usability, flexibility and control. This paper describes an abstraction of an efficient and flexible granular processing system built into the Max/MSP environment.

Questo progetto di Tesi nasce nell’ambito della collaborazione esistente da qualche anno fra Politecnico di Torino e Scuola di Musica Elettronica(SMET) del Conservatorio “Giuseppe Verdi” di Torino. L’argomento alla base di questa tesi è la sonificazione del bio-feedback raccolto sulla superficie di un vegetale. Le piante e la vita vegetale, in generale, hanno sempre vissuto sul nostro pianeta in parallelo alle vicende umane, quasi come testimoni silenziosi del corso della storia. Dalla maestosità del millenario albero alla piccola e umile pianta grassa sulle nostre scrivanie, in qualche modo i vegetali ci osservano ed entrano in relazione con noi. Le devastanti conseguenze del global warming, della deforestazione incontrollata e dell'inquinamento, stanno mettendo a dura prova il convivere pacifico di questa relazione. Anche da questa necessità nasce l'esigenza personale di trovare una chiave diversa di lettura al convivere uomo-vegetale. Valutando la differenza di potenziale presente sulla superficie di un vegetale, è possibile estrapolare un'emissione dalla pianta. Questo lavoro nasce dalla necessità di utilizzare tale metodo di sonificazione come parte integrante di una performance artistica che comprenda, fra i suoi temi portanti, la necessità di un approccio sostenibile al quotidiano e l'esplorazione di nuove forme di relazione uomo-pianta. Questo elaborato di tesi raccoglie le strutture concettuali alla base della preparazione preliminare di tale performance. Nel Capitolo 1 si trattano le basi e i ragionamenti che hanno portato alla volontà di progettare una performance che comprenda l'utilizzo di bio-feedback raccolti da vegetali e verranno approfonditi i pilastri concettuali alla base di tale esibizione. In seguito nel Capitolo 2 è esposto l’articolarsi storico delle ricerche scientifiche alla base di tale tecnologia e alla base di come la musica interferisce con il regno vegetale. Poi nel capitolo 3 saranno valutate le diverse tecnologie, esistenti ad ora sul mercato, che trasformano in musica le bio-emissioni delle piante. Successivamente è riportata l'esposizione delle ricerche e dei test effettuati per la progettazione della performance. In particolare, nel capitolo 4 è approfondita la parte di realizzazione hardware tramite Arduino UNO e, nel capitolo 5, gli algoritmi e le logiche software utilizzate, con un approfondimento ulteriore sull'implementazione in Ableton Live Suite e Max/MSP. Infine, nel capitolo 6, è stato realizzato un breve studio acustico su un possibile ambiente esistente dove si vorrebbe eseguire tale performance.

- by Nicolo Zilocchi
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- Agronomy, Installation Art, Performance Art, Sonification

《五月》故事為一位母親與兩個孩子抽象式的對話。生死、選擇、執念、記憶、失憶為框架，闡述人類無止境的人性追求。作曲風格將以實驗電子音樂與異響為基調，全音音階與非調性交錯。為結合跨媒材製作的電子實驗音樂劇，包含影音、與多種混合樂風(古典、搖滾、電子實驗)。創作音樂劇之未來演出編制：製作人員:音樂總監、編曲人員、錄音人員、舞監、技術人員、音響設計、舞台設計、化妝、造型等。演出人員:一位女高音、一位嘻哈歌手、一位民謠歌手、與舞團、合唱團、DJ 電子異響、VJ... more

- by Sandra Tavali
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- Musical Composition, Computer Music, Max/MSP

Public art, that is physically and freely accessible to the public, raises challenges for the artists and the audiences. Artists should take into consideration the diversity of the audiences, the special conditions of the exhibition and the environmental characteristics. Public art relates to the context in which it is placed and can embrace all art forms and has no boundaries as it expands continuously. Threa 2020 is a sound art installation and this case study reveals a repository of concerns for the year 2020 through an open-ended approach to interactive sound art installation. This case study serves as a tool for the reconstruction of the real world challenges posed by the outcome of the sound art installation Threa 2020.

- by Dimitri Chatzigiannakis
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- Music Education, Music Technology in Music Education, Sound Art, Arduino

A new electroacoustic composition-Travessia (2020)-relies on a well-known urban soundscape of Lisbon: the sound radiated from the 25 de Abril bridge. As with many soundscape compositions, the sonic reality captured in situ serves as the basis for subsequent manipulative procedures. Although exploring those procedures, the focus of this article is on the human/machine interface, especially important in electroacoustic music composition. Building on previous research on the use of algorithms in music-making, an analysis of compositional processes is carried out in connection with their associated aesthetic decisions and implications, providing new insights into composing with computers.

- by Gonçalo Gato
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- Music, Musical Composition, Electroacoustic Music, Soundscape composition

In this paper we present some technical aspects on the virtual masks created by the composer Georgia Spiropoulos for the needs of Les Bacchantes (IRCAM, 2010), a solo opera for one performer, tape and live electronics. In The Bacchæ the performer interprets four different characters within the interactive environment in Max/MSP. The “vocal masks” are seen as a metaphor of Euripides’ dramatic personae in which masks of the same actor are used as virtual scores which register the vocal trace of the performer and give further vocal agility, extensibility, mutation, multiplication and augmented vocality.

- by Georgia Spiropoulos
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- Voice (Music), Euripides, Rituals, Music Theatre

This chapter examines computer assisted analysis and composition (CAAC) techniques
in relation to the composition of my piece TreeTorika for chamber orchestra. I describe
methods for analysing the musical features of a recording of a speech by Mao Zedong,
in order to extract compositional material such as global form, melody, harmony and
rhythm, and for developing rhythmic material. The ﬁrst part focuses on large-scale
segmentation, melody transcription, quantiﬁcation and quantization. Automatic tran-
scription of the voice was discarded in favour of an aural method using tools in Amadeus
and Max/MSP. The data were processed in OpenMusic to optimise the accuracy and
readability of the notation. The harmonic context was derived from the transcribed
melody and from AudioSculpt partial tracking and chord sequence analyses. The second
part of this chapter describes one aspect of computer assisted composition, that is the use
of the rhythm constraint library in OpenMusic to develop polyrhythmic textures. The
ﬂexibility of these techniques allowed the computer to assist me in all but the ﬁnal phases
of the work. In addition, attention is given to the artistic and political implications of
using recordings of such a disputed public ﬁgure as Mao.

- by PerMagnus Lindborg
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- Rhetoric, Rhetorics, Oratory, Mao Zedong

Just as one who plays the violin is a violinist, or the piano a pianist, one who performs with electronics is an electronicist. Too often, electronicists act as technicians, rather than true performers. This apparent lack of performativity among electronicists stems from a disregard for embodiment and physicality in a performance context. We address these concerns related to physicality and embodiment via a new set of aesthetic considerations for mapping gestural information to sound with wireless sensors. Our concept uses the metaphor of an ADSR envelope to similarly break down a gesture into discrete events used for mapping potentials. We have applied this model specifically to a device called the Mugic sensor, and describe two case studies that use the Mugic sensor and Max to implement these ideas. We discovered that these mapping considerations result in a more visually engaging performance for audiences and create a meaningful link between performer and interface.

- by Mark Micchelli and +1
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- Electronic Music, Aesthetics (Music), Max/MSP, Gestural Controllers

oggetti II (2021), written between November 17 and December 7, 2021 for the TACETi Ensemble and Thailand New Music and Arts Symposium, is the second work in a larger cycle exploring concise musical objects, gestures, and formal constellations. Over time, my compositional process has become increasingly introspective and critical—thus, oggetti II is an attempt to re-capture the spirit of my earlier works with a more spontaneous and economical nature. oggetti I (Omaggio a Sciarrino) for wind quintet and antistasis for Ensemble Nikel were composed nearly simultaneously in a 10-day period during the summer of 2014 in NYC. Many concepts and compositional devices are shared, but not musical materials. antistasis, meaning opposition, is a rhetorical term for the repetition of a word or phrase in a different or contrary sense. This was poetically translated through the repetition of a small number of musical gestures, or objects, continually recurring and recontextualized so as to contribute to the composite in different ways. oggetti I and now oggetti II both function in a similar manner, drawing upon extremely limited materials reconfigured in various ways, something like a musical jigsaw puzzle.

Balaenoptera is a piece of mine for bass clarinet, electronic sounds and live electronics. This paper describes the use of live electronics through a detailed illustration of Max/MSP patches devoted to that aim. After the description of main patch interface, all five quadraphonic audio effects are examined showing the figure of the corresponding patch and illustrating it: a real time granulator, a quadraphonic player, a freeze reverb, a real time stretcher, a tap delay with transposition. In conclusion structural relations among instrumental part, electronic sounds and live electronics setting are analyzed.

For human–computer interaction, most devices use the fingers, sometimes the whole hand. And short of organ pedals, the fingers remain the primary source of triggering musical instrument digital interface (MIDI) synthesizers. This project offers an alternative in using the color intensity and hue controlled through objects manipulated or worn as clothing or ornament by the human body, as detected by a camera across the several zones of the video image. The method is explained in this report, along with pitfalls, perturbations, as well as performance and paradigm.

- by irving rynning
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- Colorism, Sonification, Max/MSP/Jitter, MIDI

This paper discusses two multichannel interactive audiovisual artworks, Action A/V and SoundLabyrinth, that explore approaches to the experience of gesture, sound and place. Both works were situated in a geodesic dome frame and built within the Max, Ableton and Max for Live computer programs, and produced ostensibly similar outcomes, however the approaches taken by the two authors differ in intention, processes, and philosophy. These approaches were presented and discussed in workshops delivered at ISEA2013, on Sunday June 9 and Monday June 10 2013. In these workshops participants improvised with the two systems, both through moving in the dome and by operating the related software, and discussed approaches and understandings of the three terms listed in the title of this paper.

- by Roger Alsop and +1
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- Gesture, Interactive and Digital Media, Interactive Arts, Max/MSP

La tesi " In Genesi col Dubbio" espone ideologicamente il tema del tempo e di come l'uomo si relaziona ad esso attraverso uno degli elementi che lo caratterizzano lungo il corso della sua vita, il Dubbio. L'opera musicale omonima fornisce un'interpretazione artistica fornendosi della geometria frattale come tramite tra pensiero razionale ed arte musicale concettuale, spiegando il percorso compositivo, tra idea e tecnologia applicata.

- by Gabriele Cacia
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- Music, Philosophy, Performing Arts, Metaphysics of Time
- by Ge Wang
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- Education, Computer Music, Performance, Composition

Originally composed by Marcello Messina, Ntrallazzu is a cycle of pieces for live score and electronics built on Max, and involving various instrumental line-ups. In particular, Ntrallazzu 4 was performed by Luzilei Aliel on the pífano and electric guitar in São João del Rei during the VIII UbiMus workshop. Aliel’s particular setup also involved a further layer of processing: namely, the usage of Pure Data alongside Ableton Live in order to literally hijack the original piece and open a whole set of unforeseen possibilities that abundantly transcend the original intentions. In this paper, we signify our experience by means of the concept of comprovisation, while we situate Ntrallazzu 4 within the domain of ubiquitous music.

The ocean is a mysterious world that is not easy to reach. However, people have a curiosity for this strange deep world and would like to know what kind of marine creatures live in the deep ocean, especially children. Also, we are not satisfied by the traditional study experience, like just looking at pictures, to get to know the sea animals, we want to make the learning process more interesting and more interactive. Using motion capture technology, we developed an interactive marine-life education system for children to enhance the experience for them to learn different kinds of sea animals.
Marine World is an interactive multimedia system based on motion capture technology. It’s used to help children learn about the different types of sea life that live in all parts of the sea. In the installment, you walk on a virtual water pool that creates ripples wherever you step. In the water, there are sketches of different types of sea life, and if you stand over them, interesting facts about that animal appear on the wall display in front of you. We believe that by doing this process in the different “levels” of the sea, children can learn something new.

- by Ted J. Liu
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- Marine Biology, Human Computer Interaction, Education, Interactive and Digital Media

Pretende-se com este artigo contribuir para a reflexão sobre a criação como forma de comunicação. O seu conteúdo tem como suporte a investigação realizada no contexto do Mestrado em Criação Artística Contemporânea da Universidade de Aveiro. Esta reflexão, mais que responder, pretende levantar um conjunto de questões pertinentes ligadas ao campo da actual criação artística.
O início da Idade Moderna trouxe um novo Homem, antropocêntrico. Consigo, a ideia de autor/criador, intrinsecamente ligada à ideia de criação traduz-se na assinatura como vínculo de umaobra a um artista. Fica assim resolvida, de forma clara e tranquilizadora, a relação criador/criação que fez regra durante aproximadamente cinco séculos. Cerca de 500 anos depois, no início do século XX, os dadaístas anunciaram a morte do autor tal como era conhecido até aí. Hoje, a voragem provocada pela aceleração tecnológica e pelo aparecimento de um conjuntode novos media e de novas ferramentas, de outras possibilidades e outras combinações, arrasta consigo um leque de novas interrogações.
Quem participa da obra pode também ser considerado “autor”, ou é apenas um catalisador, agindo dentro de um conjunto de possibilidades?
Se realmente está em algum lado, onde está o extraordinário? No artista, na obra, no espectador?
Mais: quem é o artista, o que é a obra e existe realmente um espectador. E qual olugar da criação?

- by Francisco Cardoso Lima
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- New Media, Art, Dürer, Author

Laptop orchestras have much in common with video games, such as utilization of networked play, singular [solo] and cooperative [ensemble] modes of play, and hardware that is multipurpose and widely available. In this talk, the composer will outline the project goals and iterative design process that have lead to the creation of Stethoscope Hero, a sci-fi multiplayer “choose your own adventure” game-composition for networked laptop orchestra that is designed to be inclusive and accessible to participants who may be unfamiliar with laptop performance and/or musical performance, while still offering a challenging and rewarding experience to those who have already performed with such an ensemble. Stethoscope Hero is part of ongoing research on the social and design parameters that contribute to meaningful play and fun in the context of networked laptop orchestras, and is supported by a grant from the Concordia Undergraduate Summer Research Award, and supervised by Dr. Eldad Tsabary under his Interdisciplinary Networked, and Telematic Laptop Orchestra Project (INTLOP).

- by Michael Palumbo
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- Video Games, Networked Music Performance, Iterative Design, Research/Creation
- by Sthenio Magalhães
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- Rhetoric, Distance Education, Rhetorics, Oratory