Irish musician/writer/voice actor/coffee drinker-thinker

From playing famous venues in front of sold-out audiences to producing and releasing their own music, heavy metal rockers “Control the Chaos” have built an incredible resume which helped skyrocket them to one of the most recognizable names and respected bands within the Vegas metal music scene.

With dedication and an incessant appetite for success, the youngsters held a rapid-fire performance schedule surpassing 200+ shows, self-managing a national tour, securing business sponsorships and winning 2 People's Choice awards for Las Vegas' Best Young Band- all while still attending high school.

So ambitious was the band’s strategic marketing efforts, that by mid-year CTC proudly commanded one of the most coveted achievements in today’s technology driven marketplace: the #1 search return on Google for best young metal band west coast and continues to develop as the internet’s beloved face of adolescent heaviness.

Intentionally staying independent, the group’s non-affiliations along with high-impact showmanship and professionalism introduced the world to "Vegas Molten Metal"- their own term used to describe the group’s ability to adapt and flow into the intricate fibers of the west coast entertainment community

Trusted advisors, supporters and entertainers from the worlds of music and television including Rock, Metal, Punk, Reggae, Hip-Hop, R&B and Jazz notables quickly became part of the band’s DNA. CTC’s business acumen and relationship agility fueled a movement and model that others would admire. From Los Angeles to New York, the band’s notoriety grew beyond the west coast capturing attention from executives at Universal Music, NBC, industry scouts and tastemakers within the RIAA.

Today, the band is a captivating, energetic force staying just as intentional. Although the future has yet to unfold, Control the Chaos is definitely one to watch.
With Las Vegas being the ultimate backdrop where smart wagers and high-risk stakes can pay-off in abundance, one can surely bet that CTC will continue to expand. The future is extremely bright for a band described by Vegas Rocks! Magazine as “One of Vegas’ Rising Stars…”

Film/Media Composer for  
Short Films:
Silence (2019)/You May Kiss The Bride (2019)/My Brother Will Find Me (2019)/Prom of the Dead (2021)/Conjuring My Mom {Not a Clickbait} (2021)/Abduction Production (2021)/ Lightheaded (2022)

Features:
Contracts (2019)

Series:
Wishful Genies {Sketch YouTube Channel} (2019-Present)


(Works before 2018 are amateur works done for fun)

Founded in 2003 and based in St. Louis, the Rats & People Motion Picture Orchestra is an orchestral ensemble of emerging composers and musicians. The R&P MPO composes and performs original scores to accompany films of the Silent Era, and composes and records soundtracks for contemporary films. The ensemble consists of a string section, a brass section, piano, and percussion. Informed by classical and contemporary sources alike, the R&P MPO's forays into noise, folk and psychedelia are tempered by a melodic sensibility rooted firmly in the Romantics.

Silent Era Film Scoring and Accompaniment

Employing a perspective that films of the Silent Era are not dusty museum pieces but rather vital and urgently relevant works of art, the R&P MPO's compositional ethic avoids the styles that dominated early film accompaniment - often the popular tunes of the time - in observance of the hundred years or so of popular music that have since shaped the contemporary ear. The hope is that the realization of this compositional ethic will build toward an ultimate goal: to draw greater and more diverse audiences to the singularly strange and beautiful medium of silent film. Examples of the R&P MPO's Silent Era accompanying scores include:

Buster Keaton's Go West (1925) (69 minutes), Original score premiere for the Webster University Film Series' "Completely Keaton," 2007

F.W. Murnau's The Last Laugh (1924) (101 minutes), Original score premiere for the Webster University Film Series' "Wild Wild Weimar," 2008

Buster Keaton's The High Sign (1921) (21 minutes), Original score premiere in St. Louis, 2008

Sergei Eisenstein's Strike (1925) (82 minutes), Original score premiere for the Webster University Film Series' "Kino Pravda," 2009

F.W. Murnau's Nosferatu (1922) (94 minutes), Original score premiere for Vanderbilt University's International Lens Film Series, 2009

Benjamin Christensen's Häxan (1922) (104 minutes), Original score premiere for the St. Louis International Film Festival, 2010


Contemporary Film Soundtrack Composition and Recording

Employing a compositional ethic similar to a doctor's Hippocratic Oath of "first do no harm," the R&P MPO's soundtrack composition and recording work seeks to support and enhance contemporary filmmakers' visions without overwhelming them. Examples of the R&P MPO's contemporary film soundtrack compositions and recordings include:

Aaron Crozier's Grumboon (2002) (xx minutes), winner of the the St. Louis Filmmakers Showcase Audience Award, 2003

Doug Whyte's Silver Spurs (2007) (Documentary, xx minutes), http://www.fullmindfilms.com/spur/index.html

Chris Grega's Rhineland (2008) (xx minutes)

Cody Stokes' Heartland Transport (2009) (Documentary, xx minutes) 

Mr Lee*G a.k.a Lee G, comes from his given name Leroy Griffith jr. A man on a mission. A natural talent with a lyrical flow that is destined for greatness. His musical roots started at the age of five where he sang in the S.D.A church choir in Trinidad, the island of his birth. In 1988, he migrated to Brooklyn, New York with dreams of becoming a star. He later enrolled in Julia Richman H.S for performing arts, were he studied Musical theater. As his musical interest grew stronger, R&B and reggae greats like the Isley Brothers, Stevie Wonder, Marvin Gaye, R. Kelly, Mary J Blige, Jodeci, Bob Marley, Dennis Brown, Jacob Killer Miller, Shabba Ranks, Capleton, Shadow, Black Stalin and David Rudder to name a few, inspired him to write and perform his own music.

In 1993 Lee*G was featured on the album "Surrender" MK featuring Alana, the songs are "Crazy Crazy", "Precious Jewels" and he did the ruff mix for "Love Changes" (Charisma Records America).

In 1995, Mr.Lee*G appeared and performed in the video "Let Me Show You" with female MC Cherokee (Low Key Records)which received heavy rotation on Video Music Box, The Juke Box and B.E.T. Since then the artiste has worked with various producers such as Frank Nitty, RED, Marc (mk) Kinchen, Finesse, Commissioner Gordon, Finguz (Etaste studios), Mattias Emanuelsson (Svart Ehuru Vit .Sweden), Lukas Kaiser (Lewcypher), Congoman Crew (Sweden) and Q.W.P inc.(T&T,MIA) to perfect his craft.

In 2001, Mr.Lee*G was featured on two tracks of Hip Hop artist Master Ace's CD titled " Disposable Arts." The tracks are "Every Other Day" and "ENUFF".

In January 2002 LG released a 45/7" single under the Ethiopian taste records titled "The Healing of the Nation", later that year another single titled "Believe" as well as a soca 45/7" titled "A Man to Woman" under the same label.

In 2004 LG finished his CD titled "They Wanna Know Who's.....the Mix CD" which he released on his own label, OonLah Records Co. The title song, "They Wanna Know Who's Lee*G" was the result of a collaboration with producer Lukas Kaiser (lewcypher). There are 16 hot songs on the CD, like "Raindrops", "Cannibus Tonight", "It Is On" and "Believe". At the same time the artiste was again featured on Master Ace's follow up album "A Long Hot Summer" , singing the hook on the single "Good Ol Luv". He then went on tour for three months with the Verizon Ladies first tour in 2004, as one of Beyonce's muscle men., carrying her onto the stage when it was showtime. Other artistes featured on the tour were Alicia Keys, Missy Elliott and Tamia.

　

In 2005 he continued to strive, recording and performing when and where ever he could. In the summer he shot his video for the single, "They Wanna Know Who's Lee*G" with director Mat Donnelly from Montreal, Canada, which was then followed by a new single with producer Ghislain Porier from Canada titled "Dem Nah Like Me" in February 2006.

In 2007 Lee*G released his album "Real Recognize Real" .

The incident that resulted in his album "Standing" slated to be released in 2011 had its beginning in 2008 when Mr. Lee G went to Trinidad to promote his music. Since he did not grow up in his birth country the artiste wanted to let "his people" know about his music and introduced a CD dedicated to his mother, entitled "Mama". Two weeks later he was invited to perform at a stage show in Trinidad. When the after party was over Mr. Lee G left the venue alone and was approached by a vehicle and 6 shots were fired at him. 3 bullets hit him in his arm, back and leg. To this date Mr. Lee G says he does not know any reason behind the shooting or who was the shooter.

"Standing" is the outcome of the first year of recovery dealing with the feelings of being a victim. Mr. Lee G recorded 24 songs with various producers from Sweden to Brooklyn, making reggae songs to heal others. The first single from the album was recorded while on tour with Congoman Crew from Ostersund, Sweden in 2009. With gun violence rampant across the Caribbean, Mr. Lee G feels that he can make a positive contribution and change and inspire others to lead a better life. The first single, also entitled "Standing", will be released end of 2010 with a video soon to follow. Mr. Lee G explains that the title "Standing" is very significant as he never fell to the ground when he was shot but instead was left standing and able to walk to his car and drive to the hospital. He calls it "A Blessing from Jah". With a fiance and daughter in Jamaica Mr. Lee G has found another home also in the country of reggae music, Jamaica.

His goal is to make good music for the heart and souls of those willing to listen to his true blend of R&B, reggae and HipHop music . "There is an element that brings it all together and it's the soul in our music, our music is life" says Mr.Lee*G.


-- 

🇬🇧 #newUKmusic

Stream 'Thrill And The Risk' [by 1990still and Wetsalt] NOW!

Welcome to 1990still's democloud™

"𝙄𝙛 𝙮𝙤𝙪 𝙚𝙭𝙥𝙚𝙘𝙩𝙚𝙙 𝙞𝙩. 𝙏𝙝𝙖𝙩 𝙬𝙤𝙪𝙡𝙙 𝙥𝙧𝙤𝙗𝙖𝙗𝙡𝙮 𝙗𝙚 𝙥𝙧𝙚𝙩𝙩𝙮 𝙤𝙗𝙫𝙞𝙤𝙪𝙨.."

Hysterical Center XX, edited at P.A.I. (Performance Art Institute), San Francisco, 2011-2012

http://soundcloud.com/somnoroase-pasarele  



Hysteria

This article is about the state of mind. For other uses, see Hysteria (disambiguation).
Hysteria, in its colloquial use, describes unmanageable emotional excesses. People who are "hysterical" often lose self-control due to an overwhelming fear that may be caused by multiple events in one's past[citation needed] that involved some sort of severe conflict; the fear can be centered on a body part, or, most commonly, on an imagined problem with that body part. Disease is a common complaint; see also Body dysmorphic disorder and Hypochondriasis. Generally, modern medical professionals have given up the use of "hysteria" as a diagnostic category, replacing it with more precisely defined categories such as somatization disorder. In 1980, the American Psychiatric Association officially changed the diagnosis of "hysterical neurosis, conversion type" to "conversion disorder".

Contents 

1 History
2 Current theories and practices
3 Mass hysteria

History


For at least two thousand years of European history until the late nineteenth century hysteria referred to a medical condition thought to be particular to women and caused by disturbances of the uterus (from the Greek ὑστέρα "hystera" = uterus), such as when a neonate emerges from the female birth canal. The origin of the term hysteria is commonly attributed to Hippocrates, even though the term isn't used in the writings that are collectively known as the Hippocratic corpus.[1] The Hippocratic corpus refers to a variety of illness symptoms, such as suffocation and Heracles' disease, that were supposedly caused by the movement of a woman's uterus to various locations within her body as it became light and dry due to a lack of bodily fluids.[1] One passage recommends pregnancy to cure such symptoms, ostensibly because intercourse will "moisten" the womb and facilitate blood circulation within the body.[1] The "wandering womb" theory persisted in European medicine for centuries.
By the mid to late 19th century, hysteria (or sometimes female hysteria) came to refer to what is today generally considered to be sexual dysfunction.[2] Typical treatment was massage of the patient's genitalia by the physician and, later, by vibrators or water sprays to cause orgasm.[2]


Professor Jean-Martin Charcot of Paris Salpêtrière demonstrates hypnosis on a "hysterical" patient.
A more modern understanding of hysteria as a psychological disorder was advanced by the work of Jean-Martin Charcot, a French neurologist. In his 1893 obituary of Charcot, Sigmund Freud attributed the rehabilitation of hysteria as a topic for scientific study to the positive attention generated by Charcot’s neuropathological investigations of hysteria during the last ten years of his life.[3] Freud questioned Charcot’s claim that heredity is the unique cause of hysteria, but he lauded his innovative clinical use of hypnosis to demonstrate how hysterical paralysis could result from psychological factors produced by non-organic traumas (psychological factors that Charcot believed could be simulated through hypnosis).[3] To Freud, this discovery allowed subsequent investigators such as Pierre Janet and Josef Breuer to develop new theories of hysteria that were essentially similar to the medieval conception of a split consciousness, but with the non-scientific terminology of demonic possession replaced with modern psychological concepts.[3]
In the early 1890s Freud published a series of articles on hysteria which popularized Charcot's earlier work and began the development of his own views of hysteria. By the 1920s Freud's theory was influential in Britain and the USA. The Freudian psychoanalytic school of psychology uses its own, somewhat controversial, ways to treat hysteria. Freudian psychoanalytic theory attributed hysterical symptoms to the unconscious mind's attempt to protect the patient from psychic stress. Unconscious motives include primary gain, in which the symptom directly relieves the stress (as when a patient coughs to release energy pent up from keeping a secret), and secondary gain, in which the symptom provides an independent advantage, such as staying home from a hated job. More recent critics have noted the possibility of tertiary gain, when a patient is induced unconsciously to display a symptom because of the desires of others (as when a controlling husband enjoys the docility of his sick wife). There need be no gain at all, however, in a hysterical symptom. A child playing hockey may fall and for several hours believe they are unable to move, because they have recently heard of a famous hockey player who fell and broke their neck.
Many now consider hysteria to be a legacy diagnosis (i.e., a catch-all junk diagnosis),[4] particularly due to its long list of possible manifestations: one Victorian physician cataloged 75 pages of possible symptoms of hysteria and called the list incomplete.[5]

Current theories and practices

Current psychiatric terminology distinguishes two types of disorder that were previously labelled 'hysteria': somatoform and dissociative. The dissociative disorders in DSM-IV-TR include dissociative amnesia, dissociative fugue, dissociative identity disorder, depersonalization disorder, and dissociative disorder not otherwise specified. Somatoform disorders include conversion disorder, somatization disorder, pain disorder, hypochondriasis, and body dysmorphic disorder. In somatoform disorders, the patient exhibits physical symptoms such as low back pain or limb paralysis, without apparent physical cause. Additionally, certain culture-bound syndromes such as "ataques de nervios" ("attacks of nerves") identified in Hispanic populations, and popularized by the Almodóvar film Women on the Verge of a Nervous Breakdown, exemplify psychiatric phenomena that encompass both somatoform and dissociative symptoms and that have been linked to psychological trauma.[6] Recent neuroscientific research, however, is starting to show that there are characteristic patterns of brain activity associated with these states.[7] All these disorders are thought to be unconscious, not feigned or intentional malingering.
Jungian psychologist Laurie Layton Schapira explored what she labels a "Cassandra Complex" suffered by those traditionally diagnosed with hysteria, denoting a tendency for those with hysteria to be disbelieved or dismissed when relating the facts of their experiences to others.[8] Based on clinical experience, she delineates three factors which constitute the Cassandra complex in hysterics: (a) dysfunctional relationships with social manifestations of rationality, order, and reason, leading to; (b) emotional or physical suffering, particularly in the form of somatic, often gynaecological complaints, and (c) being disbelieved or dismissed when attempting to relate the facticity of these experiences to others.[8]

Mass hysteria

 Mass hysteria
The term also occurs in the phrase "mass hysteria" to describe mass public near-panic reactions. It is commonly applied to the waves of popular medical problems that "everyone gets" in response to news articles. A similar usage refers to any sort of "public wave" phenomenon, and has been used to describe the periodic widespread reappearance and public interest in UFO reports, crop circles, and similar examples. Hysteria was often associated with events like the Salem Witch Trials, or slave revolt conspiracies, where it is better understood through the related sociological term of moral panic.



I combine electronic, acoustic and found sounds to create original film scores.

www.chrismmusic.co.uk

Im always open for new projects

Contact 

chrismcc89@gmail.com

http://soundcloud.com/somnoroase-pasarele

Computer music


Computer music is a term that was originally used within academia to describe a field of study relating to the applications of computing technology in music composition; particularly that stemming from the Western art music tradition. It includes the theory and application of new and existing technologies in music, such as sound synthesis, digital signal processing, sound design, sonic diffusion, acoustics, and psychoacoustics. The field of computer music can trace its roots back to the origin of electronic music, and the very first experiments and innovations with electronic instruments at the turn of the 20th century. More recently, with the advent of personal computing, and the growth of home recording, the term computer music is now sometimes used to describe any music that has been created using computing technology.


Computer music programming languages
Much of the work on computer music has drawn on the relationship between music theory and mathematics. The world's first computer to play music was CSIRAC which was designed and built by Trevor Pearcey and Maston Beard. Mathematician Geoff Hill programmed the CSIRAC to play popular musical melodies from the very early 1950s. In 1951 it publicly played the Colonel Bogey March[1] of which no known recordings exist. However, CSIRAC played standard repertoire and was not used to extend musical thinking or composition practice which is current computer-music practice.

The oldest known recordings of computer generated music were played by the Ferranti Mark 1 computer, a commercial version of the Baby Machine from the University of Manchester in the autumn of 1951. The music program was written by Christopher Strachey. During a session recorded by the BBC, the machine managed to work its way through "Baa Baa Black Sheep", "God Save the King" and part of "In the Mood".[2]

Two further major 1950s developments were the origins of digital sound synthesis by computer, and of algorithmic composition programs beyond rote playback. Max Mathews at Bell Laboratories developed the influential MUSIC I program and its descendents, further popularising computer music through a 1962 article in Science. Amongst other pioneers, the musical chemists Lejaren Hiller and Leonard Isaacson worked on a series of algorithmic composition experiments from 1956-9, manifested in the 1957 premiere of the Illiac Suite for string quartet.[3]

Early computer-music programs typically did not run in real time. Programs would run for hours or days, on multi-million-dollar computers, to generate a few minutes of music.[citation needed] John Chowning's work on FM synthesis from the 1960s to the 1970s, and the advent of inexpensive digital chips and microcomputers opened the door to real-time generation of computer music. By the early 1990s, the performance of microprocessor-based computers reached the point that real-time generation of computer music using more general programs and algorithms became possible.[citation needed]

Advances

Advances in computing power and software for manipulation of digital media have dramatically affected the way computer music is generated and performed. Current-generation micro-computers are powerful enough to perform very sophisticated audio synthesis using a wide variety of algorithms and approaches. Computer music systems and approaches are now ubiquitous, and so firmly embedded in the process of creating music that we hardly give them a second thought: computer-based synthesizers, digital mixers, and effects units have become so commonplace that use of digital rather than analog technology to create and record music is the norm, rather than the exception.

Research

Despite the ubiquity of computer music in contemporary culture, there is considerable activity in the field of computer music, as researchers continue to pursue new and interesting computer-based synthesis, composition, and performance approaches.Throughout the world there are many organizations and institutions dedicated to the area of computer and electronic music study and research, including the ICMA (International Computer Music Association), IRCAM, GRAME, SEAMUS (Society for Electro Acoustic Music in the United States), CEC (Canadian Electroacoustic Community), and a great number of institutions of higher learning around the world.

Computer-generated music

Computer-generated music is music composed by, or with the extensive aid of, a computer. Although any music which uses computers in its composition or realisation is computer-generated to some extent, the use of computers is now so widespread (in the editing of pop songs, for instance) that the phrase computer-generated music is generally used to mean a kind of music which could not have been created without the use of computers.

We can distinguish two groups of computer-generated music: music in which a computer generated the score, which could be performed by humans, and music which is both composed and performed by computers. There is a large genre of music that is organized, synthesized, and created on computers.

Computer-generated scores for performance by human players
Many systems for generating musical scores actually existed well before the time of computers. One of these was Musikalisches Würfelspiel (Musical dice game; 18th century), a system which used throws of the dice to randomly select measures from a large collection of small phrases. When patched together, these phrases combined to create musical pieces which could be performed by human players. Although these works were not actually composed with a computer in the modern sense, it uses a rudimentary form of the random combinatorial techniques sometimes used in computer-generated composition.

The world's first digital computer music was generated in Australia by programmer Geoff Hill on the CSIRAC computer which was designed and built by Trevor Pearcey and Maston Beard, although it was only used to play standard tunes of the day. Subsequently, one of the first composers to write music with a computer was Iannis Xenakis. He wrote programs in the FORTRAN language that generated numeric data that he transcribed into scores to be played by traditional musical instruments. An example is ST/48 of 1962. Although Xenakis could well have composed this music by hand, the intensity of the calculations needed to transform probabilistic mathematics into musical notation was best left to the number-crunching power of the computer.

Computers have also been used in an attempt to imitate the music of great composers of the past, such as Mozart. A present exponent of this technique is David Cope. He wrote computer programs that analyse works of other composers to produce new works in a similar style. He has used this program to great effect with composers such as Bach and Mozart (his program Experiments in Musical Intelligence is famous for creating "Mozart's 42nd Symphony"), and also within his own pieces, combining his own creations with that of the computer.

Music composed and performed by computers
See also: Generative music, Evolutionary music, and Genetic algorithm
Later, composers such as Gottfried Michael Koenig had computers generate the sounds of the composition as well as the score. Koenig produced algorithmic composition programs which were a generalisation of his own serial composition practice. This is not exactly similar to Xenakis' work as he used mathematical abstractions and examined how far he could explore these musically. Koenig's software translated the calculation of mathematical equations into codes which represented musical notation. This could be converted into musical notation by hand and then performed by human players. His programs Project 1 and Project 2 are examples of this kind of software. Later, he extended the same kind of principles into the realm of synthesis, enabling the computer to produce the sound directly. SSP is an example of a program which performs this kind of function. All of these programs were produced by Koenig at the Institute of Sonology in Utrecht, Holland in the 1970s.

Procedures such as those used by Koenig and Xenakis are still in use today. Since the invention of the MIDI system in the early 1980s, for example, some people have worked on programs which map MIDI notes to an algorithm and then can either output sounds or music through the computer's sound card or write an audio file for other programs to play.

Some of these simple programs are based on fractal geometry, and can map midi notes to specific fractals, or fractal equations. Although such programs are widely available and are sometimes seen as clever toys for the non-musician, some professional musicians have given them attention also. The resulting 'music' can be more like noise, or can sound quite familiar and pleasant. As with much algorithmic music, and algorithmic art in general, more depends on the way in which the parameters are mapped to aspects of these equations than on the equations themselves. Thus, for example, the same equation can be made to produce both a lyrical and melodic piece of music in the style of the mid-nineteenth century, and a fantastically dissonant cacophony more reminiscent of the avant-garde music of the 1950s and 1960s.

Other programs can map mathematical formulae and constants to produce sequences of notes. In this manner, an irrational number can give an infinite sequence of notes where each note is a digit in the decimal expression of that number. This sequence can in turn be a composition in itself, or simply the basis for further elaboration.

Operations such as these, and even more elaborate operations can also be performed in computer music programming languages such as Max/MSP, SuperCollider, Csound, Pure Data (Pd), Keykit, and ChucK. These programs now easily run on most personal computers, and are often capable of more complex functions than those which would have necessitated the most powerful mainframe computers several decades ago.

There exist programs that generate "human-sounding" melodies by using a vast database of phrases. One example is Band-in-a-Box, which is capable of creating jazz, blues and rock instrumental solos with almost no user interaction. Another is Impro-Visor, which uses a stochastic context-free grammar to generate phrases and complete solos.

Another 'cybernetic' approach to computer composition uses specialized hardware to detect external stimuli which are then mapped by the computer to realize the performance. Examples of this style of computer music can be found in the middle-80's work of David Rokeby (Very Nervous System) where audience/performer motions are 'translated' to MIDI segments. Computer controlled music is also found in the performance pieces by the Canadian composer Udo Kasemets such as the Marce(ntennia)l Circus C(ag)elebrating Duchamp (1987), a realization of the Marcel Duchamp process piece Erratum Musical using an electric model train to collect a hopper-car of stones to be deposited on a drum wired to an Analog:Digital converter, mapping the stone impacts to a score display (performed in Toronto by pianist Gordon Monahan during the 1987 Duchamp Centennial), or his installations and performance works (e.g. Spectrascapes) based on his Geo(sono)scope (1986) 15x4-channel computer-controlled audio mixer. In these latter works, the computer generates sound-scapes from tape-loop sound samples, live shortwave or sine-wave generators.

Computer-Aided Algorithmic Composition


Diagram illustrating the position of CAAC in relation to other Generative music Systems
Computer-Aided Algorithmic Composition (CAAC, pronounced "sea-ack") is the implementation and use of algorithmic composition techniques in software. This label is derived from the combination of two labels, each too vague for continued use. The label computer-aided composition lacks the specificity of using generative algorithms. Music produced with notation or sequencing software could easily be considered computer-aided composition. The label algorithmic composition is likewise too broad, particularly in that it does not specify the use of a computer. The term computer-aided, rather than computer-assisted, is used in the same manner as Computer-Aided Design.

Video-Driven Soundtrack Composer

A new concept insofar as the music generated is driven by an associated video. This process has been developed by Tunepresto and is available as a commercial product, Abaltat Muse, for users to create their own music based on their video pictures or slideshows. The process involves an analysis of the color saturation in the pictures, together with the calculation of the duration of the footage. The user then chooses a style of music and a soundtrack is created using the video analysis information combined with the rules of the chosen musical style. The music generated is royalty-free since the user is the originator of the music.

Machine Improvisation

See also: Machine learning, Machine listening, Artificial intelligence, and Neural networks
Machine Improvisation uses computer algorithms to create improvisation on existing music materials. This is usually done by sophisticated recombination of musical phrases extracted from existing music, either live or pre-recorded. In order to achieve credible improvisation in particular style, machine improvisation uses machine learning and pattern matching algorithms to analyze existing musical examples. The resulting patterns are then used to create new variations "in the style" of the original music, developing a notion of stylistic reinjection. This is different from other improvisation methods with computers that use algorithmic composition to generate new music without performing analysis of existing music examples.

Statistical style modeling
Style modeling implies building a computational representation of the musical surface that captures important stylistic features from data. Statistical approaches are used to capture the redundancies in terms of pattern dictionaries or repetitions, which are later recombined to generate new musical data. Style mixing can be realized by analysis of a database containing multiple musical examples in different styles. Machine Improvisation builds upon a long musical tradition of statistical modeling that began with Hiller and Isaacson's Illiac Suite for String Quartet (1957) and Xenakis' uses of Markov chains and stochastic processes. Modern methods include the use of lossless data compression for incremental parsing, prediction suffix tree and string searching by factor oracle algorithm (basically a factor oracle is a ﬁnite state automaton constructed in linear time and space in an incremental fashion[4]).

Uses of Machine Improvisation
Machine Improvisation encourages musical creativity by providing automatic modeling and transformation structures for existing music. This creates a natural interface with the musician without need for coding musical algorithms. In live performance, the system re-injects the musician's material in several different ways, allowing a semantics-level representation of the session and a smart recombination and transformation of this material in real-time. In offline version, Machine Improvisation can be used to achieve style mixing, an approach inspired by Vannevar Bush's memex imaginary machine.

Implementations
Matlab implementation of the Factor Oracle machine improvisation can be found as part of Computer Audition toolbox.

OMax is a software environment developed in IRCAM. OMax uses OpenMusic and Max. It is based on researches on stylistic modeling carried out by Gerard Assayag and Shlomo Dubnov and on researches on improvisation with the computer by G. Assayag, M. Chemillier and G. Bloch (aka the OMax Brothers) in the Ircam Music Representations group.

Musicians working with machine improvisation
Gerard Assayag (IRCAM, France), Jeremy Baguyos (University of Nebraska at Omaha, USA) Tim Blackwell (Goldsmiths College, Great Britain), George Bloch (Composer, France), Marc Chemiller (IRCAM/CNRS, France), Nick Collins (University of Sussex, UK) Shlomo Dubnov (Composer, Israel / USA), Mari Kimura (Juilliard, New York City), George Lewis (Columbia University, New York City), Bernard Lubat (Pianist, France), Joel Ryan (Institute of Sonology, Netherlands), Michel Waisvisz (STEIM, Netherlands), David Wessel (CNMAT, California), Michael Young (Goldsmiths College, Great Britain), Pietro Grossi (CNUCE, Institute of the National Research Council, Pisa, Italy), Toby Gifford and Andrew Brown (Griffith University, Brisbane, Australia).

Live coding

Main article: Live coding
Live coding[5] (sometimes known as 'interactive programming', 'on-the-fly programming',[6] 'just in time programming') is the name given to the process of writing software in realtime as part of a performance. Historically, similar techniques were used to produce early computer art[citation needed], but recently it has been explored as a more rigorous alternative to laptop musicians who, live coders often feel, lack the charisma and pizzazz of musicians performing live.[7]

Generally, this practice stages a more general approach: one of interactive programming, of writing (parts of) programs while they are interpreted. Traditionally most computer music programs have tended toward the old write/compile/run model which evolved when computers were much less powerful. This approach has locked out code-level innovation by people whose programming skills are more modest. Some programs have gradually integrated real-time controllers and gesturing (for example, MIDI-driven software synthesis and parameter control). Until recently, however, the musician/composer rarely had the capability of real-time modification of program code itself. This legacy distinction is somewhat erased by languages such as ChucK, SuperCollider, and Impromptu.

TOPLAP, an ad-hoc conglomerate of artists interested in live coding was formed in 2004, and promotes the use, proliferation and exploration of a range of software, languages and techniques to implement live coding. This is a parallel and collaborative effort e.g. with research at the Princeton Sound Lab, the University of Cologne, and the Computational Arts Research Group at Queensland University of Technology.

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