{'fraction_non_alphanumeric': 0.026690391459074734, 'fraction_numerical': 0.02491103202846975, 'mean_word_length': 5.181318681318682, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Interactive Composing: An Overview

Interactive composing is the name I have given to a method for using performable, real-time computer music systems in composing and performing music. The concept of interactive composing has grown in my work since 1967, at which time I proposed the design for a sequencer-programmable analog synthesis system, subsequently built by the R. A. Moog Co. and installed in the Electronic Music Studio at State University of New York at Albany in December 1969. That system's special capability in automating controls made possible the techniques that led to several compositions, in particular Ideas of Movement at Bolton Landing (1971) (Chadabe 1972), which involved the control of timbre and rhythm interactively with automated controls generated by sequencers, and Echoes (1972) (Chadabe 1975; 1977), in which the sounds performed by an instrumentalist are delayed for a few seconds, then transformed by a sound-processing system, then distributed to various loudspeakers. The transformed sounds appear as distant echoes to which the performer reacts in deciding how to play the next notes.