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Academic literature on the topic 'Accessible digital musical instruments'

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Published: 9 March 2023
Last updated: 10 March 2023

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Journal articles on the topic "Accessible digital musical instruments"

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Frid, Emma. "Accessible Digital Musical Instruments—A Review of Musical Interfaces in Inclusive Music Practice." Multimodal Technologies and Interaction 3, no. 3 (July 26, 2019): 57. http://dx.doi.org/10.3390/mti3030057.

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Current advancements in music technology enable the creation of customized Digital Musical Instruments (DMIs). This paper presents a systematic review of Accessible Digital Musical Instruments (ADMIs) in inclusive music practice. History of research concerned with facilitating inclusion in music-making is outlined, and current state of developments and trends in the field are discussed. Although the use of music technology in music therapy contexts has attracted more attention in recent years, the topic has been relatively unexplored in Computer Music literature. This review investigates a total of 113 publications focusing on ADMIs. Based on the 83 instruments in this dataset, ten control interface types were identified: tangible controllers, touchless controllers, Brain–Computer Music Interfaces (BCMIs), adapted instruments, wearable controllers or prosthetic devices, mouth-operated controllers, audio controllers, gaze controllers, touchscreen controllers and mouse-controlled interfaces. The majority of the AMDIs were tangible or physical controllers. Although the haptic modality could potentially play an important role in musical interaction for many user groups, relatively few of the ADMIs (14.5%) incorporated vibrotactile feedback. Aspects judged to be important for successful ADMI design were instrument adaptability and customization, user participation, iterative prototyping, and interdisciplinary development teams.
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Gonçalves, Luan Luiz, and Flávio Luiz Schiavoni. "Creating Digital Musical Instruments with libmosaic-sound and Mosaicode." Revista de Informática Teórica e Aplicada 27, no. 4 (December 23, 2020): 95–107. http://dx.doi.org/10.22456/2175-2745.104342.

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Music has been influenced by digital technology over the last few decades. With the computer and the Digital Musical Instruments, the musical composition could trespass the use of acoustic instruments demanding to musicians and composers a sort of computer programming skills for the development of musical applications. In order to simplify the development of musical applications several tools and musical programming languages arose bringing some facilities to lay-musicians on computer programming to use the computer to make music. This work presents the development of a Visual Programming Language (VPL) to develop DMI applications in the Mosaicode programming environment, simplifying sound design and making the creation of digital instruments more accessible to digital artists. It is also presented the implementation of libmosaic-sound library, which supported the VPL development, for the specific domain of Music Computing and DMI creation.
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Davanzo, Nicola, and Federico Avanzini. "Hands-Free Accessible Digital Musical Instruments: Conceptual Framework, Challenges, and Perspectives." IEEE Access 8 (2020): 163975–95. http://dx.doi.org/10.1109/access.2020.3019978.

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Samuels, Koichi, and Franziska Schroeder. "Performance without Barriers: Improvising with Inclusive and Accessible Digital Musical Instruments." Contemporary Music Review 38, no. 5 (September 3, 2019): 476–89. http://dx.doi.org/10.1080/07494467.2019.1684061.

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Ilsar, Alon, Gail Kenning, Sam Trolland, and Ciaran Frame. "Inclusive Improvisation: Exploring the Line between Listening and Playing Music." ACM Transactions on Accessible Computing 15, no. 2 (June 30, 2022): 1–21. http://dx.doi.org/10.1145/3506856.

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The field of Accessible Digital Musical Instruments (ADMIs) is growing rapidly, with instrument designers recognising that adaptations to existing Digital Musical Instruments (DMIs) can foster inclusive music making. ADMIs offer opportunities to engage with a wider range of sounds than acoustic instruments. Furthermore, gestural ADMIs free the music maker from relying on screen, keyboard, and mouse-based interfaces for engaging with these sounds. This brings greater opportunities for exploration, improvisation, empowerment, and flow through music making for people with disability and the communities of practice they are part of. This article argues that developing ADMIs from existing DMIs can speed up the process and allow for more immediate access for those with diverse needs. It presents three case studies of a gestural DMI, originally designed by the first author for his own creative practice, played by people with disability in diverse contexts. The article shows that system-based considerations that enabled an expert percussionist to achieve virtuoso performances with the instrument required minimal hardware and software changes to facilitate greater inclusivity. Understanding the needs of players and customising the system-based movement to sound mappings was of far greater importance in making the instrument accessible.
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Peñalba, Alicia, María-José Valles, Elena Partesotti, María-Ángeles Sevillano, and Rosario Castañón. "Accessibility and participation in the use of an inclusive musical instrument: The case of MotionComposer." Journal of Music, Technology and Education 12, no. 1 (August 1, 2019): 79–94. http://dx.doi.org/10.1386/jmte.12.1.79_1.

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Digital musical instruments (DMI) can make musical practice accessible to non-trained persons or to persons with limitations related to their age, gender or musical experience. The present study explores accessibility and participation in a sample of 266 individuals using a device named MotionComposer, a digital instrument based on motion capture. By experimenting with this device during four minutes in two different environments (one causal, the other one more aprioristically determined), we study the kind of participant interaction that takes place. Results show that MotionComposer allows for a statistically significant similar interaction in people of different ages and genders and with different disabilities. However, there are two exceptions that can be accounted for in connection with the causality-randomness of the two environments where the experimentation takes place.
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Samuels, Koichi. "The Meanings in Making: Openness, Technology and Inclusive Music Practices for People with Disabilities." Leonardo Music Journal 25 (December 2015): 25–29. http://dx.doi.org/10.1162/lmj_a_00929.

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Digital musical instruments and interfaces can be designed to enable people with disabilities to participate in creative music-making. Advances in personalized, open source technologies and low-cost DIY components have made customized musical tools easily accessible for use in inclusive music-making. In this article, the author discusses his research with the Drake Music Project Northern Ireland on making music-making more inclusive.
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Devyatova, Olga L., and Aleksandra A. Pichueva. "Dance Culture in the Digital Age." Observatory of Culture 19, no. 4 (September 5, 2022): 372–80. http://dx.doi.org/10.25281/2072-3156-2022-19-4-372-380.

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The purpose of this article is to analyze the existence of dance culture in the context of its active interaction with media technologies. The modern theatrical repertoire offers a large number of experimental performances, which provides a basis for a cultural understanding of dance culture, based on the works of researchers of culture, theater and dance, as well as on the basis of the results of creative searches of choreographers and dancers (lectures and individual performances). The synthesis under consideration generates new stage techniques (formation of space without the use of decorations, direct “interaction” of the dancer with electronic “props”), technical means for rehearsals (tracking movements in space, remote work of the choreographer and the performer). This makes dance art accessible to the viewer making it a part of media culture through musical films and television projects. The article pays special attention to the wide opportunities of the dancer’s self-presentation in the digital space, which requires not only beautiful dance technique, but also technical skills (filming, editing).It is important that the synthesis of technology and dance is a special case of the relationship between the classical and the modern. This manifests itself in unusual musical works, where genres and musical instruments of different styles are combined, as well as in experimental dance performances in which there is a place for both classical dance and digital technologies as decorations or even participants in the stage action. The article concludes that dance culture continues to develop with the help of media technologies, but it should be borne in mind that further technical transformations will never replace the live movement and expressiveness of the human body with digital effects.
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Frid, Emma. "Correction: Frid, E. Accessible Digital Musical Instruments—A Review of Musical Interfaces in Inclusive Music Practice. Multimodal Technologies and Interaction 2019, Vol. 3, Page 57." Multimodal Technologies and Interaction 4, no. 3 (June 29, 2020): 34. http://dx.doi.org/10.3390/mti4030034.

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Frid, Emma, Claudio Panariello, and Claudia Núñez-Pacheco. "Customizing and Evaluating Accessible Multisensory Music Experiences with Pre-Verbal Children—A Case Study on the Perception of Musical Haptics Using Participatory Design with Proxies." Multimodal Technologies and Interaction 6, no. 7 (July 17, 2022): 55. http://dx.doi.org/10.3390/mti6070055.

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Research on Accessible Digital Musical Instruments (ADMIs) has highlighted the need for participatory design methods, i.e., to actively include users as co-designers and informants in the design process. However, very little work has explored how pre-verbal children with Profound and Multiple Disabilities (PMLD) can be involved in such processes. In this paper, we apply in-depth qualitative and mixed methodologies in a case study with four students with PMLD. Using Participatory Design with Proxies (PDwP), we assess how these students can be involved in the customization and evaluation of the design of a multisensory music experience intended for a large-scale ADMI. Results from an experiment focused on communication of musical haptics highlighted the diversity in employed interaction strategies used by the children, accessibility limitations of the current multisensory experience design, and the importance of using a multifaceted variety of qualitative and quantitative methods to arrive at more informed conclusions when applying a design with proxies methodology.
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Dissertations / Theses on the topic "Accessible digital musical instruments"

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DAVANZO, NICOLA. "ACCESSIBLE DIGITAL MUSICAL INSTRUMENTS FOR QUADRIPLEGIC MUSICIANS." Doctoral thesis, Università degli Studi di Milano, 2022. http://hdl.handle.net/2434/920339.

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This thesis explores a particular research topic in the field of Sound and Music Computing, dedicated to the creation of Accessible Digital Musical Instruments (ADMIs) designed for users affected by quadriplegia or similar motor impairments. With such conditions an user is completely paralyzed from the neck down. The impossibility to control the upper and lower limbs, particularly fingers, makes it impossible for such users to play conventional musical instruments, both acoustic and digital. This makes it necessary to introduce specific and non-trivial design and development solutions. A first part of the work is dedicated to the analysis of the related context. After defining the pertinent jargon, an analysis of different physical interaction channels available to people with quadriplegic disabilities is provided, with a review of the sensors suitable for their detection. Some of these channels are then evaluated through an experimental methodology. Further chapters provide an analysis of the state of the art in ADMIs for quadriplegic users, as well as design tools dedicated to ADMIs in general. A chapter is dedicated to the design of musical interfaces controlled through gaze, one of the most employed channels in this context. The second part describes the design, development and testing of new ADMIs suitable for quadriplegic users. The implementation of a software library for developing or fast-prototyping software instruments is described, as well as two Open-Source Hardware sensor peripherals developed ad-hoc for the detection of breath and head rotation. The remaining chapters describe the design, implementation and evaluation of Netytar, Netychords and Resin, three ADMIs that are played through the detection of gaze, breath, head movement, and stimulated resonances in the upper vocal tract, therefore playable hands-free.
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McCloskey, John Brendan. "inGrid : a new tactile, tangible and accessible digital musical instrument for enhanced creative independence amongst musicians with quadriplegic cerebral palsy." Thesis, Ulster University, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.654103.

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In digital music-making activities musicians with physical disabilities employ both accessible and generic control interfaces; accessible controllers capture broad input gestures and map them onto discrete output events, whereas consumer digital musical instruments (DMI's) offer extended control only through artefact multiplication (more buttons, sliders and dials). The interaction paradigm common to both consumer and specialised controllers reveals limited dimensions: click-and-drag or select-and-move. It is common practice in inclusive music activities for an able-bodied facilitator to expose access to low-level parameters via sequential and non-real-time processes, on behalf of the musician with a physical disability; these factors constrain real-time independent creative self-expression. The current research details the explicit needs and capabilities of a small group of digital musicians with quadriplegic cerebral palsy, garnered through participatory design and mixed methods. The project methodology draws on tools and models from the fields of assistive technologies and from mainstream DMI design. Project participants contribute data pertaining to preferences and capabilities, and evaluate key iterations of the evolving prototype. The practice-led and participatory design ethos relies on demonstrably repeatable and preferred gestural capabilities, without seeking to maximise physical ability in a rehabilitative context. The underlying mapping strategy exposes, in real time, a transparent hierarchy of dynamic sound parameters commonly accessed through facilitated, offline and sequential processes.
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Weinberg, Gil 1967. "Expressive digital musical instruments for children." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/62942.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 1999.
Includes bibliographical references (p. 87-92).
This thesis proposes to use technology to introduce children to musical expressivity and creativity. It describes a set of digital musical instruments that were developed in an effort to provide children with new tools for interaction, exploration and enjoyment of music. The thesis unfolds a multidisciplinary theoretical background, which reviews a number of philosophical, psychological, musical, and technological theories. The theoretical background focuses on enlightening a number of personal musical experiences and leads towards the formulation of three musical concepts that inform the design of the digital musical instruments. The musical concepts are: High and Low-level Musical Control, Immersive and Constructive Musical Experiences and Interdependent Group Playing. The thesis presents the embodiment of these concepts in digital musical instruments while emphasizing the importance of novel technology as a provider of creative and expressive musical experiences for children.
by Gil Weinberg.
S.M.
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Marshall, Mark. "Physical interface design for digital musical instruments." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=40788.

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This thesis deals with the study of performer-instrument interaction during the performance of novel digital musical instruments (DMIs). Unlike acoustic instruments, digital musical instruments have no coupling between the sound generation system and the physical interface with which the performer interacts. As a result of this, such instruments also lack the direct physical feedback to the performer which is present in an acoustic instrument. In fact in contrast to acoustic musical instruments, haptic and vibrotactile feedback is generally not present in a DMI contributing to a poor feel for the instrument. The main goal of this thesis is to propose ways to improve the overall feel of digital musical instruments through the study and design of its physical interface: the instrument body, sensors and feedback actuators. It includes a detailed study of the existing theory and practice of the design on physical interfaces for digital musical instruments, including a survey of 266 existing DMIs presented since the inception of the NIME conference. From this, a number of differences become apparent between the existing theory and practice, particularly in the areas of sensors and feedback. The research in this thesis then addresses these differences. It includes a series of experiments on the optimal choice of sensors for a digital musical instrument. This is followed by research into the provision of vibrotactile feedback in a digital musical instrument, including the choice of actuator, modification of actuator frequency response, and the effects of response modification on human vibrotactile frequency discrimination. Following this, a number of new digital musical instruments are presented, which were created during the course of this work. This includes an instrument designed specifically to follow the results of research in this thesis and also instruments designed as part of larger collaborative projects involving engineers, composers and performers. Fro
Cette thèse porte sur l'étude de l'interaction ayant lieu, en situation de jeu,entre un(e) instrumentiste et un instrument musical numérique (IMN).A l'inverse des instruments acoustiques traditionnels, il n'existe aucun couplageentre le dispositif de production du son et l'interface sur laquelle agit l'instrumentistedans le cas des IMN. L'une des implications de cette observation est que cesinstruments ne procurent pas la rétroaction tactile normalement présente dans lesinstruments de musique traditionels. Par conséquent, les IMN sont souvent perçuspar leurs interprètes comme manquant d'âme, de personnalité.Le but de ce travail de thèse est d'avancer quelques solutions permettant d'insuer un peu plus âme à un instrument musical numérique. Le point focal de larecherche étant l'étude et la conception de l'interface physique (corps de l'instrument,capteurs et dispositifs de rétroaction utilisés) d'un tel instrument.Ce mémoire présente, en premier lieu, une étude détaillée de la théorie et de lapratique actuelles dans le domaine de la conception d'interfaces physiques pour lesIMN. L'inventaire des 266 instruments recensés depuis la création de la conférenceNIME constitue l'un des points majeurs de cette partie du travail. En effet, ce tour d'horizon permet de faire ressortir les incohérences entre théorie et pratique. Cesdifférences sont particulièrement frappantes en ce qui concerne les capteurs et lesdispositifs de rétroaction.Le travail de recherche de cette thèse a donc pour objectif de mieux comprendrecomment réduire ces incohérences. Des expériences portant sur le choix optimaldes capteurs à utiliser dans un IMN ont donc été menées. Différents dispositifs derétroaction vibrotactile ont aussi été étudiés en regardant d'abord quels actuateursutiliser, et en évaluant les effets de la modication de leur réponse en fréquencesur la discrimination fréquentielle de stimuli vibrotactiles chez des sujets humains.Des exemp
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Donovan, Liam. "Travelling wave control of stringed musical instruments." Thesis, Queen Mary, University of London, 2018. http://qmro.qmul.ac.uk/xmlui/handle/123456789/54052.

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Despite the increasing sophistication of digital musical instruments, many performers, composer and listeners remain captivated by traditional acoustic instruments. Interest has grown in the past 2 decades in augmenting acoustic instruments with sensor and actuator technology and integrated digital signal processing, expanding the instrument's capabilities while retaining its essential acoustic character. In this thesis we present a technique, travelling wave control, which allows active control of the vibrations of musical strings and yet has been little explored in the musical instrument literature to date. The thesis seeks to demonstrate that travelling wave control is capable of active damping and of modifying the timbre of a musical string in ways that go beyond those available through the more conventional modal control paradigm. However, we show that travelling wave control is highly sensitive to nonlinearity, which in practical settings can lead to harmonic distortion and even instability in the string response. To avoid these problems, we design and build a highly linear optical string displacement sensor, and investigate the use of piezoelectric stacks to actuate the termination point of a string. With these components we design and build a functioning travelling wave control system which is capable of damping the vibrations of a plucked string without adversely affecting its timbre. We go on to show that by deliberately adding nonlinearity into the control system, we are able to modify the timbre of the string in a natural way by affecting the evolution of the modal amplitudes. The results demonstrate the feasibility of the concept and lay the groundwork for future integration of travelling wave control into future actuated musical instruments.
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Vamvakousis, Zacharias. "Digital musical instruments for people with physical disabilities." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/395189.

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Playing a musical instrument has been shown to have a positive impact in the life of individuals in many different ways. Nevertheless, due to physical disabilities, some people are unable to play conventional musical instruments. In this dissertation, we consider different types of physical disabilities and implement specific digital musical instruments suitable for people with disabilities of each type. Firstly, we consider the case of people with limited sensorimotor upper limb functions, and we construct low-cost digital instruments for three different scenarios. Results indicate that the constructed prototypes allow musical expression and improve the quality of life of these users. Secondly, we consider disabilities such as tetraplegia or locked-in syndrome with unaffected eye-movements. For individuals with such conditions, we propose the EyeHarp, a gaze-controlled digital music instrument, and develop specific target selection algorithms which maximize the temporal and spatial accuracy required in music performance. We evaluate the instrument on subjects without physical disabilities, both from an audience and performer perspective. Results indicate that the EyeHarp has a steep learning curve and it allows expressive music performances. Finally, we examine the case of brain-controlled music interfaces. We mainly focus in auditory event related potential-based interfaces. In particular, we investigate and evaluate how timbre, pitch and spatialization auditory cues affect the performance of such interfaces.
Se ha demostrado que tocar instrumentos musicales tiene un impacto positivo en muchos aspectos de la vida de las personas. Sin embargo, debido a discapacidades físicas, a un gran número de personas les es imposible tocar instrumentos musicales tradicionales. En esta tesis doctoral consideramos diferentes tipos de discapacidades físicas e implementamos instrumentos musicales digitales adaptados a las capacidades de las personas que las padecen. En primer lugar, consideramos el caso de personas con discapacidad motora en los miembros superiores sensoriomotoras. Utilizando materiales de bajo coste implementamos prototipos en tres escenarios diferentes. Los resultados indican que los prototipos construidos permiten la expresión musical y mejoran la calidad de vida de los usuarios. En segundo lugar, consideramos discapacidades como la tetraplejia o el síndrome locked-in donde aun se conservan los movimientos oculares. En ese caso, se propone el EyeHarp, un instrumento que se controla con movimientos de los ojos. Hemos desarrollado algoritmos de selección que maximizan la precisión temporal y espacial requerida en la ejecución de instrumentos musicales y evaluamos el instrumento con gente sin discapacidades, desde la perspectiva de la audiencia y del músico. Los resultados indican que el EyeHarp tiene una curva de aprendizaje inclinada y permite interpretaciones musicales expresivas. Finalmente examinamos el caso de las interfaces musicales cerebro-ordenador. En particular, investigamos interfaces cerebro-ordenador basadas en potenciales relacionados con eventos auditivos. Investigamos cómo timbre, tono y espacialización afectan el rendimiento de dichas interfaces y proponemos y evaluamos interfaces musicales basadas en esta técnica.
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Magnusson, Thor. "Epistemic Tools : The Phenomenology of Digital Musical Instruments." Thesis, University of Sussex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.505911.

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Digital music technologies, and instruments in particular, are the result of specific systems of thought that define and enframe the user's creative options. Distinctive divisions between digital and acoustic instruments can be traced, contrasting the conceptually based design of software with the affordances and constraints of physical artefacts. Having lost the world's gift of physical properties, the digital instrument builder becomes more than a mere luthier. The process of designing and building the instrument is transformed into a process of composition, for it typically contains a greater degree of classification and music theory than its acoustic counterpart. Part I of this thesis begins by framing musical systems in the context of the philosophy of technology. Here technological conditions are questioned and theories introduced that will assist the investigation into the relationship between creativity and technology. After this general grounding, the ramifications digital technologies pose to the human body are explored in the context of human expression through tool use. The human-machine relationship is described from phenomenological perspectives and relevant theories of cognitive science. This analysis serves as a foundation for the concept of epistemic tools, defmed as the mechanism whereby techno-cultural models are inscribed into technological artefacts. The cultural element of tool use and tool origins is therefore emphasised, an aspect that is highly relevant in musical technologies. Part I thus frames the material properties of acoustic and digital instruments in relation to human culture, cognition, performance and epistemology. Part II contextualises these theories in practice. The ixiQuarks, the live improvisation musical environment that resulted from the current research, are presented as a system addressing some of the vital problems of musical performance with digital systems (such as the question of embodiment and theoretical inscriptions), proposing an innovative interaction model for screen-based musical instruments. The concept of virtual embodiment is introduced and framed in the context of the ixi interaction model. Two extensive user studies are described that support the report on ixiQuarks. Furthermore, comparative surveys on the relationship between expression and technology are presented: a) the phenomenology of musical instruments, where the divergence between the acoustic and the digital is investigated; b) the question of expressive freedom versus time constraints "in musical environments is explored with practitioners in the field; and c) the key players in the design of audio programming environments explain the rationale and philosophy behind their work. These are the first major surveys of this type conducted to date, and the results interweave smoothly with the observations and findings in the chapters on the nature and the design of digital instruments that make up the majority of Part II. This interdisciplinary research investigates the nature of making creative tools in the digital realm, through an active, phiIosophicaIIy framed and ethnographicaIIy inspired study, of both practical and theoretical engagement. It questions the nature of digital musical instruments, particularly in comparison with acoustic instruments. Through a survey of material epistemologies, the dichotomy between the acoustic and the digital is employed to illustrate the epistemic nature of digital artefacts, necessitating a theory of epistemic tools. Consequently virtual embodiment is presented as a definition of the specific interaction mode constituting human relations with digital technologies. It is demonstrated that such interactions are indeed embodied, contrasting common claims that interaction with software is a disembodied activity. The role of cultural context in such design is emphasised, through an analysis of how system design is always an intricate process of analyses, categorisations, normalisations, abstractions, and constructions; where the design paths taken are often defined by highly personal, culturaIIy conditioned and often arbitrary reasons. The dissertation therefore dissects the digital musical instrument from the perspectives of ontology, phenomenology and epistemology. Respective sections in Part I and Part II deal with these views. The practical outcome of this research - the ixiQuarks - embodies many of the theoretical points made on these pages. The software itself, together with the theoretical elucidation of its context, should therefore be viewed as equal contributions to the field of music technology. The thesis closes by considering what has been achieved through these investigations of the technological context, software development, user studies, surveys, and the phenomenological and epistemological enquiries into the realities of digital musical instruments, emphasising that technology can never be neutral.
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Sinyor, Elliot. "Digital musical instruments : a design approach based on moving mechanical systems." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99606.

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This thesis describes the design and use of two novel digital musical instruments (DMIs) based on moving mechanical systems. The motivation behind using mechanical devices was threefold: to explore the effect of physical effort on DMIs, to make use of the device's inherent haptic and visual feedback, and to serve as a starting point for sound mappings. It was hoped that their mechanical nature would give the instruments a character that could emerge through each of the mappings. The first DMI built was the Gyrotyre, a hand-held DMI based around a small bicycle wheel outfitted with sensors that measure its speed of rotation and as well as its angle of orientation. The second DMI built was the Springwave, which consists of a loose metal spring stretched to one meter and fixed at both ends to a metal frame. The frame is in turn mounted horizontally on a hi-hat stand so that it can be raised and lowered with the pedal, thus inducing oscillation in the spring. Various mappings were designed to reflect and make use of the physical nature of both instruments. It was found that the nature of interaction with each instrument was very different depending on the mapping used. The use of mechanical devices was found to be a useful starting point for the development of mappings, and made playing the instruments engaging for the performer by the relationship between DMIs and musical contexts, a framework for characterizing DMIs that takes musical context into account is presented.
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Dalgleish, Mathew. "A contemporary approach to expressiveness in the design of digital musical instruments." Thesis, University of Wolverhampton, 2013. http://hdl.handle.net/2436/297483.

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Digital musical instruments pose a number of unique challenges for designers and performers. These issues stem primarily from the lack of innate physical connection between the performance interface and means of sound generation, for the latter is usually dematerialised. Thus, this relationship must instead be explicitly determined by the designer, and can be essentially any desired. However, many design issues and constraints remain poorly understood, from the nature of control to the provision of performer-instrument feedback. This practice-based research contends that while the digital and acoustic domains are so different as to be fundamentally incompatible, useful antecedents for digital musical instruments can be found in the histories of electronic music. Specifically, it argues that the live electronics of David Tudor are of particular prescience. His home-made circuits offer an electronic music paradigm quite antithetical to both the familiar keyboard interface and the electronic music studios that grew up in the years after World War II, and are seen to embody a number of aspirational qualities. These include performer-instrument interaction more akin to steering rather than fine control, the potential for musical outcomes that are unknown and unknowable in advance, and distinct instrumental character. This leads to the central contribution of this research; the development of a Tudor-inspired conceptual framework that can inform how digital musical instruments are designed, played, and evaluated. To enable more detailed and nuanced discussion, the framework is broken down into a series of sub-themes. These include both design issues such as nuance, plasticity and emergence, and human issues such as experience, expressiveness, skill, learning, and mastery. The notion of sketching in hardware and software is also developed in relation to the rapid iteration of multiple designs. Informed by this framework, seven new digital musical instruments are presented. These instruments are tested from two different perspectives, with the personal experiences of the author supplemented with data from a series of smallscale user studies. Particular emphasis is placed on how the instruments are played, the music they can produce, and their capacity to convey the musical intentions of the performer (i.e. their expressiveness). After the evaluation of the instruments, the Tudorian framework is revisited to form the basis of the conclusions. A number of modifications to the original framework are proposed, from the addition of a dialogical model of performerinstrument interaction, to the situation of digital musical instruments within a wider musical ecology. The thesis then closes with a suggestion of possibilities for future research.
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Ward, Nicholas. "Effortful interaction : a new paradigm for the design of digital musical instruments." Thesis, Queen's University Belfast, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602967.

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Human movement is central to instrumental musical performance. Beyond the apparent connection between sound-producing actions and the sounds themselves, movement can communicate emotion, musical intention and structure. In designing an acoustic instrument, the requirements to support the vibration and manipulation of strings or membranes constrain the possibilities for action that facilitate performance. In Digital Musical Instrument (OM!) design, however, no specific physical requirements for movements exist. Electronic sound production and sensing systems expand the possibilities for performance movement far beyond that typically associated with acoustic instruments. This is indicated by the OM! design community's focus on sound synthesis and sound-gesture mapping; little attention is given to movement qualities of the performance interaction. This thesis seeks to redress this imbalance, by developing and testing a coherent method for installing bodily movement in OM! designs. Upon considering existing frameworks for description of human movement, both generally and in musical performance specifically, Laban Movement Analysis (LMA) was identified as a suitable method for exploring and designing for movement. Laban 's theory of Effort was selected to observe and analyse existing Theremin performances, and, from this analysis, tested in a novel OM!, the Damper. Following this, further re-iterations of LMA observation and analysis were carried out to strengthen this descriptive method. From these initial studies, and existing design theory, a formal movement-based OM! design process was constructed, and implemented in the design of another novel OM! interface, the Twister. This interface was designed to the specific quality of movement, Carving, as defined by LMA. An observational analysis showed that naIve users did respond to the device with the intended movement qualities. This thesis therefore provides a procedural framework with which to design for movement in DMls, and initial testing indicates that it is indeed possible to design DM! interfaces that invite desired movement qualities
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Books on the topic "Accessible digital musical instruments"

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Calegario, Filipe. Designing Digital Musical Instruments Using Probatio. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02892-3.

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Corporation, International Business Machines, ed. Bach digital. [Germany?]: IBM Corp., 2000.

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Miranda, Eduardo Reck. New digital musical instruments: Control and interaction beyond the keyboard. Middleton, WI: A-R Editions, 2006.

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Marcelo, Wanderley, ed. New digital musical instruments: Control and interaction beyond the keyboard. Middleton, Wis: A-R Editions, 2006.

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The digital delay handbook. New York: Amsco Publications, 1985.

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Allen, Corey. Arranging in the digital world: Techniques for arranging popular music using today's electronic and digital instruments. Boston, MA: Berklee Press, 2000.

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The rough guide to keyboards & digital piano. London: Rough Guides, 2000.

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Roberta, Gary, Miles Thom, and Conable Barbara, eds. What every pianist needs to know about the body: A manual for players of keyboard instruments : piano, organ, digital keyboard, harpsichord, clavichord. Chicago: GIA Publications, 2003.

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The digital musician. New York: Routledge, 2012.

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Allen, Corey. Arranging in the digital world: An introduction to basic MIDI arranging. Boston, MA: Berklee Press, 2000.

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Book chapters on the topic "Accessible digital musical instruments"

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Davanzo, Nicola, and Federico Avanzini. "Experimental Evaluation of Three Interaction Channels for Accessible Digital Musical Instruments." In Lecture Notes in Computer Science, 437–45. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-58805-2_52.

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Driessen, Peter, and George Tzanetakis. "Digital Sensing of Musical Instruments." In Springer Handbook of Systematic Musicology, 923–33. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-55004-5_46.

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Ihde, Don. "Musical and scientific instruments, synthesizers and digital instruments." In Material Hermeneutics, 87–93. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003153122-8.

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Malloch, Joseph, and Marcelo M. Wanderley. "Embodied Cognition and Digital Musical Instruments." In The Routledge Companion to Embodied Music Interaction, 438–47. New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315621364-48.

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Trautmann, Lutz, and Rudolf Rabenstein. "Physical Description of Musical Instruments." In Digital Sound Synthesis by Physical Modeling Using the Functional Transformation Method, 15–62. Boston, MA: Springer US, 2003. http://dx.doi.org/10.1007/978-1-4615-0049-0_3.

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Wu, Jiayue Cecilia. "An outlook on future digital musical instruments." In The Art of Digital Orchestration, 234–60. New York : Routledge, 2020.: Focal Press, 2020. http://dx.doi.org/10.4324/9780429345012-8.

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Bucur, Voichita. "Digital Fabrication of Some Wind Instruments." In Handbook of Materials for Wind Musical Instruments, 593–613. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19175-7_16.

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Smith, Julius O. "Digital Waveguide Architectures for Virtual Musical Instruments." In Handbook of Signal Processing in Acoustics, 399–417. New York, NY: Springer New York, 2008. http://dx.doi.org/10.1007/978-0-387-30441-0_25.

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Calegario, Filipe. "Introduction." In Designing Digital Musical Instruments Using Probatio, 1–4. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-02892-3_1.

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Calegario, Filipe. "Challenges in Designing DMIs." In Designing Digital Musical Instruments Using Probatio, 5–17. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-02892-3_2.

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Conference papers on the topic "Accessible digital musical instruments"

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Willeart, Saskia. "Digitizing collections of musical instruments in Africa." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.1.05.

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In 2013–2014 the Musical Instruments Museum (mim) in Brussels worked with Musée de la Musique (MMO) in Ouagadougou, Burkina Faso, and the Musée Panafricain de la Musique (MPM) in Brazzaville, the Republic of the Congo to build digital inventories of their musical instrument collections. The purpose of this digitization campaign has been to provide a more complete view of musical world heritage by incorporating not only African instruments but also the African terminology that describes these instruments, into international research databases. The cooperative digitization work has helped bring attention to valuable but not easily accessible collections. Both the musical patrimony held in African museums and the metadata they provide are proving to be valuable sources for understanding musical world heritage.
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Araújo, João, Avner De Paulo, Igino Silva Junior, Flávio Luiz Schiavoni, Mauro César Fachina Canito, and Rômulo Augusto Costa. "A technical approach of the audience participation in the performance 'O Chaos das 5'." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10419.

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Since HTML 5 and web audio were released, we have seen several initiatives to construct web based instruments and musical applications based on this technology. Web based instruments involved composers, musicians and the audience in musical performances based in the fact that a web instrument embedded in a web page can be accessed by everyone. Nonetheless, despite the fact that these applications are accessible by the network, it is not easy to use the network and these technologies to synchronize the participants of a musical performance and control the level of interaction in a collaborative musical creation scenario. Based on a multimedia performance created in our research group, O Chaos das 5, we present in this paper some scenarios of interaction and control between musicians and the audience that can be reached using a server side programming infrastructure along with the HTML5. In this performance, the audience took part of the musical soundscape using a cellphone to access a set of digital instruments. These scenarios and the proposed solutions brought up a set of possibilities to balance control and interaction of audience participation into live performance using web instruments.
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Gonçalves, Luan, and Flávio Luiz Schiavoni. "The development of libmosaic-sound: a library for sound design and an extension for the Mosaicode Programming Environment." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10429.

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Music has been influenced by digital technology over the last few decades. With the computer, the musical composition could trespass the use of acoustic instruments demanding to musicians and composers a sort of computer programming skills for the development of musical applications. In order to simplify the development of musical applications, several tools and musical programming languages arose bringing some facilities to lay-musicians on computer programming to use the computer to make music. This work presents the development of a Visual Programming Language (VPL) for audio applications in the Mosaicode programming environment, simplifying sound design and making the synthesis and manipulation of audio more accessible to digital artists. It is also presented the implementation of libmosaic-sound library for the specific domain of Music Computing, which supported the VPL development.
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Davanzo, Nicola, and Federico Avanzini. "A Method for Learning Netytar: An Accessible Digital Musical Instrument." In Special Session on Computer Supported Music Education. SCITEPRESS - Science and Technology Publications, 2020. http://dx.doi.org/10.5220/0009816106200628.

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Fütterer, Daniel. "Herausforderungen bei der Kodierung von Paratext am Beispiel Neuer Musik mit Live-Elektronik." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.103.

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In traditional scholarly editions of music, peritext only plays a minor role so far. Peritexts can be defined as integral components of a score, for example a foreword, that are not part of the musical text. Especially in New Music, which is often intentionally breaking with implicit performance traditions, peritexts might offer essential information, e. g. on the arrangement of instruments and personal on the stage, about the used effects and hardware, and on verbal instructions to the interpreters. Encoding this information to be fully accessible for a scholarly digital music edition, is an important challenge. The poster is explaining this issue using an example by Joachim Krebs.
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Davanzo, Nicola, and Federico Avanzini. "Resin: a Vocal Tract Resonances and Head Based Accessible Digital Musical Instrument." In AM '21: Audio Mostly 2021. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3478384.3478403.

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Davanzo, Nicola, Matteo De Filippis, and Federico Avanzini. "Netychords: An Accessible Digital Musical Instrument for Playing Chords using Gaze and Head Movements." In 5th International Conference on Computer-Human Interaction Research and Applications. SCITEPRESS - Science and Technology Publications, 2021. http://dx.doi.org/10.5220/0010689200003060.

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Glyn Hunter, Trevor. "Designing Digital Musical Instruments." In DIS '21: Designing Interactive Systems Conference 2021. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3468002.3468238.

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Vieira, Rômulo, João Teixeira Araújo, Edimilson Batista, and Flávio Luiz Schiavoni. "Automatic classification of instruments from supervised methods of machine learning." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19418.

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Sorting instruments is not an easy task for humans or computers, especially when it comes to elements with the same acoustic properties, such as wind, percussion, or strings. Nevertheless, the use of audio descriptors and artificial intelligence techniques can make this duty more accessible. In this paper, three supervised methods, Naive Bayes, decision tree and Support Vector Classifier (SVC) are used to categorize acoustic guitar and bass sounds in a database, using as a parameter the information extracted from audio descriptors. The research resulted in a performance comparison of these three algorithms, considering their hit rates and processing time when classifying samples in different parts of the dataset. After all, some relevant considerations about the feasibility of automatically classifying instruments are presented.
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Calegario, Filipe, João Tragtenberg, Giordano Cabral, and Geber Ramalho. "Batebit Controller: Popularizing Digital Musical Instruments' Technical Development Process." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10453.

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In this paper, we present an ongoing research project related to popularizing the mindset of building new digital musical instruments. We developed a physical kit and software intended to provide beginner users with the first grasp on the development process of a digital musical instrument. We expect that, by using the kit and the software, the users could experiment in a short period the various steps in developing a DMI such as physical structure, electronics, programming, mapping, and sound design. Our approach to popularizing the DMI development process is twofold: reducing the cognitive load for beginners by encapsulating technical details and lowering the costs of the kit by using simple components and opensource software. In the end, we expect that by increasing the interest of beginners in the building process of digital musical instruments, we could make the community of new interfaces for musical expression stronger.
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