ABSTRACT
This paper maps my initial research as I explore re-engineering music performance as a collaborative improvisatory space involving the audience who will engage with programmed, sampled and live music musical artifacts through the use of digital controllers. It also contains a survey of the field of interactive audience participation within music performance and details the methodology behind the composition, technical infrastructure and post-performance analysis of a work entitled The Singularity, designed to act as a pilot study for this research, and draws conclusions from the performance given at the Innovation in Music Conference (2017).
