ANTESCOFO: Anticipatory synchronization and control of interactive parameters in computer music — Proceedings of the International Computer Music Conference

Claims

1. antescofo
   Antescofo is an anticipatory score following system that holds instrumental and electronic scores together and executes electronic scores in synchronization with a live performance. It couples an audio agent and a tempo agent that work collaboratively and competitively, outputs the real-time tempo of the performance, and comes with a score language for writing time and interaction in computer music.

   "Antescofo is a modular anticipatory score following system that holds both instrumental and electronic scores together and is capable of executing electronic scores in synchronization with a live performance and using various controls over time. [...] Antescofo comes with a simple score language for flexible writing of time and interaction in computer music. [...] It is capable of outputting the real-time tempo of the performance but unlike previous approaches, it comprises two coupled audio and tempo agents which work collaboratively and competitively in an anticipatory design to reduce computation and design complexity and increase robustness when there is uncertainty in one of the two agents."

   Locator: section: Abstract, 3 · Quote language: en
2. history
   In early mixed pieces by Maderna, Stockhausen, and Davidovsky, live performers synchronized with fixed tape using click tracks or active listening. The first MIDI score followers were presented in 1984 by Dannenberg and Vercoe; Vercoe's Synthetic Performer interacted explicitly with the performer's tempo. From the mid-1980s, real-time electronics, starting with experiments by Manoury and Boulez, used score followers to synchronize live instruments with a pre-written score and trigger electronic events. Composers Jean-Claude Risset and Marco Stroppa criticized real-time electronics.

   "The consensus for interaction between a live music performance and electronics dates back to early experiments of Maderna, Stockhausen and Davidovsky among others through fixed or tape pieces where the live performer is responsible for synchronizing with the electronics using click-tracks or active listening. Later on in mid 80s, the movement is joined by experiments and repertoire of the so called "real-time electronics", starting from experiments by Manoury and Boulez, where most often a score following application is responsible for synchronizing events of the live instruments to the pre-written score and triggering the appropriate electronic events [...]. Among many criticisms directed towards real-time electronics school, of particular interest are the ones by compsoers Jean-Claude Risset and Marco Stroppa. [...] Since the inception of the first MIDI score followers in 1984 by Dannenberg [4] and Vercoe [5] [...]. It is interesting to note that Vercoe's initial MIDI Synthetic Performer had explicit interaction with the deducted tempo of the live performer"

   Locator: section: 2–3 · Quote language: en