Type of Document	Major Paper
Author	Karnatz, Roland Anton
Author's Email Address	rkarna1@lsu.edu
URN	etd-04072005-111439
Title	Interactive Computer Music: A Performer's Guide to Issues Surrounding Kyma with Live Clarinet Input
Degree	Doctor of Musical Arts (D.M.A.)
Department	Music
Advisory Committee	Advisor Name Title Griffin M Campbell Committee Chair Stephen D Beck Committee Member William F Grimes Committee Member William Ludwig Committee Member Ursula Emery McClure Dean's Representative
Keywords	interactive computer music kyma clarinet
Date of Defense	2005-03-15
Availability	unrestricted
Abstract Musicians are familiar with interaction in rehearsal and performance of music. Technology has become sophisticated and affordable to the point where interaction with a computer in real time performance is also possible. The nature of live interactive electronic music has blurred the distinction between the formerly exclusive realm of composition and that of performance. It is quite possible for performers to participate in the genre but currently little information is available for those wishing to explore it. This written document contains a definition of interaction, discussion on how it occurs in traditional music-making and a brief history of the emergence of live interaction in computer music. It also discusses the concept of live interaction, its aesthetic value, and highlights the possibilities of live interactive computer music using clarinet and the Kyma system, revealing ways a performer may maximize the interactive experience. The document, written from a player's perspective, contains descriptions of possible methods of interaction with Kyma and live clarinet input divided into two areas: the clarinet can be used as a controller and the clarinet can be used as a source of sound. Information upon technical issues such as the speaker system, performance-space acoustics and diffusion options, possible interactive inputs, and specifically on microphone choices for clarinet is provided. There is little information for musicians contemplating the use of Kyma; specifically clarinetists will find in this paper a practical guide to many aspects of live electronic interaction and be better informed to explore the field. This area has the potential to expand not only our performing opportunities, but might increase economic development. Application of interactive music technology can be used in a traditional recital and for collaborative work with other art forms, installation projects and even music therapy. Knowledge of these programs also opens possibilities for sound design in theatre, film and other commercial applications.
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