This is the project website & blog of MIRLCAuto: A Virtual Agent for Music Information Retrieval in Live Coding, a project funded by the EPSRC HDI Network Plus Grant - Art, Music, and Culture theme.

Presentation at MUST5001 Aesthetics and Ideas in the Sonic Arts – November 25, 2020

25 Nov 2020 • Anna Xambó • Post a comment

Yesterday I had the opportunity to meet the students of the brand new De Montfort University (DMU) Master Music, Technology and Innovation MA in the context of a guest lecture for the module MUST5001 Aesthetics and Ideas in the Sonic Arts coordinated by Prof. John Young.

The presentation entitled "Music performance with crowdsourced sounds: collaboration by chance" starts outlining the precedents of music performance with crowdsourced sounds including John Cage, The League of Automatic Music Composers / The Hub, Luigi Russolo, Pierre Schaeffer, Beatriz Ferreyra, and the reference book "Audio Culture". It then discusses the influence of Web 2.0 as a socio-technological change that has led to three approaches to music performance with crowdsourced sounds: (1) corpus-based performance, (2) soundmap-based performance, and (3) crowdsourced-based performance, where our project MIRLCAuto is contextualised.

Next week we will be meeting again to discuss the different materials of the three approaches. You can find the slides and reference list below.

The slides of my presentation are available here.

Reading List #

Essential #

Readings #

  • Collins, N. 2002. “The BBCut Library.” In Proceedings of the International Computer Music Conference, pp. 313–316.

  • López, Francisco. "Environmental sound matter." La Selva (Sound environments from a Neotropical rain forest) (CD). Holanda: V2_Archief. Cobertura (1998).

  • Roma, G. (2019). “map mop”. In Proceedings of the International Web Audio Conference. pp. 166.

  • Roma, G., and X. Serra. (2015). “Music Performance by Discovering Community Loops”. In Proceedings of the International Web Audio Conference.

  • Schwarz, Diemo. (2012). The Sound Space as Musical Instrument: Playing Corpus-Based Concatenative Synthesis. In Proceedings of the International Conference on New Interfaces for Musical Expression.

  • Tremblay, P. A., Green, O., & Roma, G. (2019) From Collections to Corpora: Exploring Sounds through Fluid Decomposition In Proceedings of the ICMC-2019.

  • Xambó, A., Lerch, A. and Freeman, J. (2019). “Music Information Retrieval in Live Coding: A Theoretical Framework”. Computer Music Journal, 42(4), Winter 2018, pp. 9-25.

  • Xambó, A., Font, F., Fazekas, G. and Barthet, M. (2019) “Leveraging Online Audio Commons Content For Media Production”. In Michael Filimowicz (ed.) Foundations in Sound Design for Linear Media: An Interdisciplinary Approach, Routledge. pp. 248-282.

Videos #

Audios #

  • López, Francisco. "La Selva (Sound environments from a Neotropical rain forest)" (CD). Holanda: V2_Archief. Cobertura (1998):

Websites #

Readings #

  • Cage, J. (1973). Silence: Lectures and Writings. Wesleyan University Press.

  • Chaves, R. and Rebelo, P. (2011). Sensing Shared Places: Designing a mobile audio streaming environment. Body, Space & Technology, 10(1).

  • Cox, Christoph, and Daniel Warner, eds. Audio Culture, Revised Edition: Readings in Modern Music. Bloomsbury Publishing USA, 2017.

  • Font, F. and Bandiera, G. (2017). “Freesound Explorer: Make Music While Discovering Freesound!”. In Proceedings of the International Web Audio Conference.

  • Gaver, William W. (1993) “What in the world do we hear?: An ecological approach to auditory event perception.” Ecological psychology 5.1 (1993): 1-29.

  • Gresham-Lancaster, Scot. (1998)."The Aesthetics and History of the Hub: The Effects of Changing Technology”. Leonardo Music Journal. Vol. 8, pp. 39–44.

  • Lessig, L. (2004). Free Culture: How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity. (

  • Merkley, R. (2015). State of the Commons. Available at:

  • Ordiales, H., and M. L. Bruno. (2017). “Sound Recycling from Public Databases: Another BigData Approach to Sound Collections.” In Proceedings of the International Audio Mostly Conference.

  • Roma, G., Green, O., & Tremblay, P. A. (2019). Adaptive Mapping of Sound Collections for Data-driven Musical Interfaces. In Proceedings of the Conference on New Interfaces for Musical Expression 2019.

  • Russolo, L. (1913). "The Art of Noise (futurist manifesto)". Retrieved from:

  • Schaeffer, Pierre. Treatise on Musical Objects: An Essay Across Disciplines. Vol. 20. Univ of California Press, 2017. (Originally published: 1966)

Videos #

Audios #

Websites #

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