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Participative music_ development, implications and future by Miguel La Corte.pdf

"There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open.”

Martha Graham

“I’m looking for something else now, something that will no longer fit into the concert hall. If music would ever take that road, that direction, that would be the real composer’s paradise.”

Morton Feldman

“Since it it primarily Production (productive creation) that serves human construction, we must strive to turn the apparatuses (instruments) used so far only for reproductive purposes into ones that can be used for productive purposes as well”

De Stijl, 1922

Contents

  1. Abstract.
    1. What is participative music?
  2. Technological developments and its implications for interaction/participation in the musical experience
    1. The Recording Paradigm: Establishment of the remote & recording-based musical experience.
    2. Reproduction isn’t meant for production
    3. Industrialization, the core of recording media
      1. Repeatability
      2. Portability
    4. Participative music in the age of the computer
    5. Ubiquitous computing and the internet
  3. Next steps for participative media.
    1. Easing the interconnection between interface design and web audio composition tools
    2. Compiling and migration tools for audio programmers
    3. Compiling and migration tools for non-audio programmers
    4. Platform for curation of participative experiences
  4. Outcomes from the standardization of participative musical experiences.
    1. Independization from the consequences of industrial processes: new media ecologies based on open & collaborative values
    2. Empowering the audience
    3. Developing digitally native audio communities
    4. Active involvement of user-centered interface design as an important element of the compositional process
    5. Compositional Networks
  5. Conclusion