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Publication

Live interactive computer music and performance practice

D. Wessel, “Live interactive computer music and performance practice”, Journal of the Acoustical Society of America, vol. 3, pp. 2348-2348, 2002.

A live‐performance musical instrument can be assembled around current lap‐top computer technology. One adds a controller such as a keyboard or other gestural input device, a sound diffusion system, some form of connectivity processor(s) providing for audio I/O and gestural controller input, and reactive real‐time native signal processing software. A system consisting of a hand gesture controller; software for gesture analysis and mapping, machine listening, composition, and sound synthesis; and a controllable radiation pattern loudspeaker are described.

Publication

Timbre and the perceptual organization of musical patterns

D. Wessel, “Timbre and the perceptual organization of musical patterns”, Journal of Acoustical Society of America, vol. 86, p. S58, 1989.

Timbre, usually defined as the condition of attributes other than pitch, loudness, and duration, plays a strong role in determining the perceptual organization of musical patterns. Timbre's primary organizational influence appears to be on perceptual grouping, as in auditory stream segregation and rhythmic segmentation. Grouping by timbre can influence the tonal implications of otherwise ambiguous pitch material.

Publication

Soft computing for real-time control of musical processes

M. A. Lee and Wessel, D., “Soft computing for real-time control of musical processes”, in 1995 IEEE International Conference on Systems, Man and Cybernetics. Intelligent Systems for the 21st Century (Cat. No.95CH3576-7) 1995 IEEE International Conference on Systems, Man and Cybernetics. Intelligent Systems for the 21st Century, Vancouver, BC, Canada, 1995, pp. 2748-53 vol.3.

In this paper, we present soft computing tools and techniques aimed at realizing musical instruments that learn. Specifically we explore applications of neural network and fuzzy logic techniques to the design of instruments that form highly personalized relationships with their users through self-adaptation. We demonstrate techniques for adapting sensor arrays and techniques for realizing highly expressive real-time sound synthesis algorithms.

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