This is also the case for an interactive music system that would like to play jazz, blues, or rock. Within an idiomatic context, an improviser deals with issues of acceptability regarding the stylistic norms and aesthetic values implicitly carried by the musical idiom. These researches were mainly dedicated to free improvisation, and we focus here on pulsed and ''idiomatic'' music. This work follows on researches on machine improvisation seen as the navigation through a musical memory: typically the music played by an ''analog'' musician co-improvising with the system during a performance or an offline corpus. An interactive system dedicated to music improvisation generates music ''on the fly'', in relation to the musical context of a live performance. This thesis focuses on the introduction of authoring and controls in human-computer music improvisation through the use of temporal scenarios to guide or compose interactive performances, and addresses the dialectic between planning and reactivity in interactive music systems dedicated to improvisation. The Antescofo approach has been validated through numerous uses of the system in live electronic performances in contemporary music repertoire by various international music ensembles. Antescofo unique features are presented through a series of examples which illustrate how to manage execution of different audio processes through time and their interactions with an external environment. Interaction scenarios are expressed at a symbolic level through the management of musical time (i.e., events like notes or beats in relative tempi) and of the physical time (with relationships like succession, delay, duration, speed between the occurrence of the events during the performance on stage). The challenge in bringing human actions in the loop of computing is strongly related the specification and the management of multiple time frameworks and timeliness of live execution despite heterogeneous nature of time in the two mediums. Antescofo couples artificial machine listening with a reactive and temporized system. Using this language a composer is able to describe temporal scenarios where electronic musical processes are computed and scheduled in interaction with a live musician performance. This contribution presents the Antescofo real-time system and its domain specific language. Authoring the interaction between the humans and the electronic processes, as well as their real-time implementation, challenge computer science in several ways. Mixed music is the association in live performance of human musicians and computer mediums, interacting in real-time. We also investigate avenues for automated generation of interactive music scores by way of formal grammars.Finally, we harness the potential of musical sound for data exploration and performance mediation, by implementing an EEG sonification system as part of an interactive theatre piece.Throughout, our objective is to increase the capacity of software-based systems for dynamic interaction, which enables more immediate and expressive modes of human- computer music performance. We describe our contributions to the user interface for the programming and execution of Antescofo scores, focussing on visual models for the coherent notation of dynamic processes. We extend this system with a robust tempo modelling engine, that adaptively switches its source between the alignment path and a beat tracking module.Through several case studies, we contrast this system with the audio-to-score following paradigm, as instanced by the existing state-of-the-art Antescofo software. This thesis contributes to several facets of real-time computer music, using the construct of dynamic music representations as a platform towards the online retrieval and pro- cessing of information from sound and its (re)interpretation into visual and auditory display.We design and implement a real-time performance tracker using the audio-to-audio alignment of acoustic input with a pre-existing reference track, without any symbolic score information.
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