Senses of Interaction: What Does Interactivity in Music Mean Anyway?

摘要

In order to facilitate a meaningful transdisciplinary discussion of human-machine interaction with a special focus on music, it is necessary to begin to standardize what is meant by "interaction" given the various ways in which the term is used and perceived. In October 1999. the first "Interactive Music Xpo" was held at the Jacob Javits Center in New York City. When I asked David Zicarelli. co-developer of the MAX interactive music programming language and the developer of MSP (Max Signal Processing), if he was going to participate in the conference, he stated. "Their type of interaction is not my kind of interaction." This conversation initiated my current research on senses of interaction. What are the ways in which the various disciplines of music use the term? How do definitions of interactivity in music compare? At the Interactive Music Xpo. interactivity in music often meant nothing more than a simple download of an mp3 file. A variety of commercial-based music industries were represented, including the computer game industry. DJs. software companies, record producers, and digital content clearinghouses. When I asked Brian Schmidt. Program Manager of Consumer Windows Division for the Microsoft Corporation, "What does interactivity mean?" we only agreed that the term continues to evolve. In this paper I propose to summarize the different senses of interaction offered in interviews with individuals from a variety of music and non-music disciplines, and attempt to synthesize a methodology for continued research with the hope of stimulating and provoking innovations in the next generation of intelligent music systems.