ABSTRACT The author discusses the inspiration and design of an as-yet-unrealized composition in which participants serve in the roles of composer, performer and consumer all at the same time. Provoked by the passage of a law restricting sharing and distribution of music files, he explores the potential for file sharing as a compositional process.

ABSTRACT The author describes the use of real-time music notation software that allows laptop musicians and instrumental musicians to perform together in collaborative, interactive improvisation.

ABSTRACT The author discusses his explorations with notation in three dimensions resulting in sculptural scores constructed of wood, metal and glass.

ABSTRACT The author describes her creation and use of HD videos that serve as projected scores for improvisatory musicians. Each video score provides pulsing color and visual elements to inspire the improvisation group in performance.

ABSTRACT The authors present an experimental musical performance called Dance Jockey , wherein sounds are controlled by sensors on the dancer's body. These sensors manipulate music in real time by acquiring data about body actions and transmitting the information to a control unit that makes decisions and gives instructions to audio software. The system triggers a broad range of music events and maps them to sound effects and musical parameters such as pitch, loudness and rhythm.

ABSTRACT The author describes his work with the Melomics approach to music composition. Taking the melody as its main object of study, Melomics, mimicking biology, implements a simulated evolution of music composition using generative methods. The goal of this work is to model the full process of professional music composition using sophisticated strategies for algorithm design.

ABSTRACT The author discusses performance utilizing his greis software system, which is built around the principle of a “scrubbing” interaction with roots in the recording industry and the paradigm of scrubbing tape across a magnetic head.

ABSTRACT Two musicians who have focused on playing acoustic wind instruments into electronics for the purposes of enhancing their original sound reflect on how the use of such new technologies inherently pushes “old technologies” toward a new aesthetics of improvisation.

ABSTRACT The author discusses “score streams,” a compositional method in which notations are displayed dynamically on computer screens and interpreted by improvisers. These works are informed by contemporary explorations in telematic performance and by the many methods devised over the past half century in composer-improviser traditions, where works by individuals are understood as catalysts for profoundly collaborative real-time acts of creation. Referencing polyphony both literally and metaphorically, the author points to a richly generative dialogue between recent histories of improvised music and new forms of digital networking technologies.

ABSTRACT Many performers of new music do not come from an improvising tradition, and the addition of live electronics to works written for these performers may be intimidating due to their inexperience with improvising and/or working with technology. Although inexperience may be a problem, it can be overcome. The author describes techniques and strategies for creating rule-based improvisation environments with live electronics.