Composing Interactive Music: Techniques and Ideas Using Max [With CD-ROM]

by Todd Winkler

Book Overview

Interactive music refers to a composition or improvisation in which software interprets live performances to produce music generated or modified by computers. In Composing Interactive Music, Todd Winkler presents both the technical and aesthetic possibilities of this increasingly popular area of computer music. His own numerous compositions have been the laboratory for the research and development that resulted in this book.

The author's...

• Format: Paperback
• Language: English
• ISBN: 0262731398
• ISBN13: 9780262731393
• Release Date: January 2001
• Publisher: MIT Press
• Length: 368 Pages
• Weight: 0.05 lbs.
• Dimensions: 0.7" x 6.9" x 10.1"
• Age Range: 18 years and up
• Grade Range: Postsecondary and higher

Customer Reviews

Fantastic book on max

This book is one of a kind and is a great hard copy reference to Max/Msp. Though Max is in a new version 5, this book could still be very helpful. It does get a little intense towards the end with some pretty advanced projects, but I would say that's a good thing. An added benefit of this book is that it talks about the theory of interactive music throughout. I'm glad someone took the time to write this book and I will keep it in my library as a reference for years to come.

An in-depth look at MAX and its applications

MAX is an object-oriented graphical programming environment for creating music and multimedia used for over fifteen years by composers, performers, software designers, researchers and artists interested in creating interactive compositions. MAX reuses the patchable modular analog synthesizer metaphor. You build patches by placing modules on a graphic surface and connecting these modules together with patch cords. The connections represent paths on which values or signal streams are send between the modules. These modules are either processing units (arithmetics, timing, ...), data containers (tables, ...), system inputs or outputs (audio, MIDI, ...). MAX modules are called objects in the sense of Object-Oriented Languages. Objects can themselves be patchers, so that a patch has a hierarchical structure. Some objects have graphical interactive behavior and can be used as controllers, to change values in the patch, or as viewers, to display values computed by the patch. In this book, Winkler mainly deals with the MIDI version of MAX running on the Macintosh platform. What makes this book so interesting is that it brings together much of the research that has been floating around various institutions and e-mail lists. It is also a fantastic introduction to both MAX and how it interfaces with both performers and computer programming. Winkler informs us that there is a growing future for the MAX environment. With the advent of increased QuickTime and Internet support, MAX is becoming one of the tools with which to enter the interactive programming world. Its strength is that one starts with simple commands and a blank sheet of paper, so to speak, not a grid or staff or piano-roll. Readers of this book, if novices to MAX and MIDI, could find it hard going at first - but if one can work through the exercises, learning is quickly achieved. If you have already used MAX then the book ties many loose ends together and offers advice on structured programming in MAX. Winkler is careful to define his space and the terminology used. His historical introduction is thoughtful and comprehensive, citing many well-known and some less well-known composers and works. Thus, while informing us of quite pertinent details, Winkler manages to keep an informal style that presents these details in exciting ways. Once into Chapter 3, we are programming with MAX. MAX is a fourth-generation language - its objects on the screen generate run-time code that the programmer may never see (or wish to see). Its structure is intuitive - generally time runs top-to-bottom and precedence runs right-to-left, and this facilitates informative annotation. Although the book contains tutorial information on MAX, some understanding of the fundamentals of MAX is assumed. Also, it is assumed the reader is familiar with simple musical terms and structures. Winkler categorizes interactive music programming into three sections: computer as listener, computer as composer, and computer as performer a

A perfect companion for Max users on all levels.

This book gives one a clear and inspiring view into the Max language and the wide scope of work being done with this Macintosh software. My only regret is that I don't own two copies, one for the studio and one to read at home.