Articles de revues : « 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, n^o 3 (26 juillet 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, et Flávio Luiz Schiavoni. « Creating Digital Musical Instruments with libmosaic-sound and Mosaicode ». Revista de Informática Teórica e Aplicada 27, n^o 4 (23 décembre 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, et 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, et Franziska Schroeder. « Performance without Barriers : Improvising with Inclusive and Accessible Digital Musical Instruments ». Contemporary Music Review 38, n^o 5 (3 septembre 2019) : 476–89. http://dx.doi.org/10.1080/07494467.2019.1684061.

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Ilsar, Alon, Gail Kenning, Sam Trolland et Ciaran Frame. « Inclusive Improvisation : Exploring the Line between Listening and Playing Music ». ACM Transactions on Accessible Computing 15, n^o 2 (30 juin 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 et Rosario Castañón. « Accessibility and participation in the use of an inclusive musical instrument : The case of MotionComposer ». Journal of Music, Technology and Education 12, n^o 1 (1 août 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 (décembre 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., et Aleksandra A. Pichueva. « Dance Culture in the Digital Age ». Observatory of Culture 19, n^o 4 (5 septembre 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, n^o 3 (29 juin 2020) : 34. http://dx.doi.org/10.3390/mti4030034.

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Frid, Emma, Claudio Panariello et 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, n^o 7 (17 juillet 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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de Mora, Lee, Alistair A. Sellar, Andrew Yool, Julien Palmieri, Robin S. Smith, Till Kuhlbrodt, Robert J. Parker, Jeremy Walton, Jeremy C. Blackford et Colin G. Jones. « Earth system music : music generated from the United Kingdom Earth System Model (UKESM1) ». Geoscience Communication 3, n^o 2 (11 septembre 2020) : 263–78. http://dx.doi.org/10.5194/gc-3-263-2020.

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Abstract. Scientific data are almost always represented graphically in figures or in videos. With the ever-growing interest from the general public in understanding climate sciences, it is becoming increasingly important that scientists present this information in ways that are both accessible and engaging to non-experts. In this pilot study, we use time series data from the first United Kingdom Earth System Model (UKESM1) to create six procedurally generated musical pieces. Each of these pieces presents a unique aspect of the ocean component of the UKESM1, either in terms of a scientific principle or a practical aspect of modelling. In addition, each piece is arranged using a different musical progression, style and tempo. These pieces were created in the Musical Instrument Digital Interface (MIDI) format and then performed by a digital piano synthesiser. An associated video showing the time development of the data in time with the music was also created. The music and video were published on the lead author's YouTube channel. A brief description of the methodology was also posted alongside the video. We also discuss the limitations of this pilot study and describe several approaches to extend and expand upon this work.

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Patton, Kevin. « Morphological notation for interactive electroacoustic music ». Organised Sound 12, n^o 2 (4 juillet 2007) : 123–28. http://dx.doi.org/10.1017/s1355771807001781.

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AbstractInteractive electroacoustic music that alters or extends instrumental timbre, samples it, or generates sound based upon data generated in real time by the performer presents a new set of challenges for the performing musician. Unlike tape music, interactive music can continuously vary its response and, frequently, performers are unable are to predict how the computer will react. Many, if not most, scores include no visual representation of how the computer may affect the sound of the instrument.Providing performers with a readily accessible visual representation of the sonic possibilities of interactive computer music will provide a conceptual framework within which performers can understand a piece of music. Interpretation of this type of notation by the performer will provide a perspective on how his or her acoustic instrument relates to the digital instrument. This can be especially useful when improvised or aleatoric methods are called for.This paper outlines a system of interactive computer-music descriptive notation that links pictographic representations to the system of spectromorphologies suggested by Dennis Smalley. The morphological notation (MN) uses these morphologies and adds a z-plane to the well-established time-vs-pitch schema. Ideally, MN will not only represent the sound data of the moment, but also will be an intuitive picture of the musical possibilities of a composition's electronic component.

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Berdahl, Edgar, Wendy Ju et Julius O. Smith. « Homemade digital musical instruments. » Journal of the Acoustical Society of America 127, n^o 3 (mars 2010) : 1763. http://dx.doi.org/10.1121/1.3383757.

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Fujimori, Jun‐ichi, et Hirokazu Kato. « Digital signal processing aspects of digital musical Instruments ». Journal of the Acoustical Society of America 84, S1 (novembre 1988) : S104. http://dx.doi.org/10.1121/1.2025649.

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Bech-Hansen, Mikkel. « Musical Instrument Interfaces ». A Peer-Reviewed Journal About 2, n^o 1 (31 janvier 2013) : 112–19. http://dx.doi.org/10.7146/aprja.v2i1.121132.

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Controlling digital tools, instruments or appliances can be a quite tedious task. It could seem as if the huge computational and technological potentials of digital technologies – often internalized and inaccessible – in many cases take precedence over the very interface that is to unleash its powers. The following is a preliminary overview of my motivation and some of the main issues within the context of my research on musical instrument interfaces. My own experiences and frustrations as a musician and sound engineer is probably the primary driving force behind this project. Originally being a drummer, my approach to creating music have always had a very physical and tactile dimension to it. Problems and difficulties arose, however, when I started working with other instruments, such as analog and digital synthesizers, tape machines and computer software. What I am interested in is the interaction between the musician and the relevant instruments or pieces of technology.

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Magnusson, Thor. « Of Epistemic Tools : musical instruments as cognitive extensions ». Organised Sound 14, n^o 2 (29 juin 2009) : 168–76. http://dx.doi.org/10.1017/s1355771809000272.

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This paper explores the differences in the design and performance of acoustic and new digital musical instruments, arguing that with the latter there is an increased encapsulation of musical theory. The point of departure is the phenomenology of musical instruments, which leads to the exploration of designed artefacts as extensions of human cognition – as scaffolding onto which we delegate parts of our cognitive processes. The paper succinctly emphasises the pronounced epistemic dimension of digital instruments when compared to acoustic instruments. Through the analysis of material epistemologies it is possible to describe the digital instrument as anepistemic tool: a designed tool with such a high degree of symbolic pertinence that it becomes a system of knowledge and thinking in its own terms. In conclusion, the paper rounds up the phenomenological and epistemological arguments, and points at issues in the design of digital musical instruments that are germane due to their strong aesthetic implications for musical culture.

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Tahıroğlu, Koray, Thor Magnusson, Adam Parkinson, Iris Garrelfs et Atau Tanaka. « Digital Musical Instruments as Probes : How computation changes the mode-of-being of musical instruments ». Organised Sound 25, n^o 1 (4 mars 2020) : 64–74. http://dx.doi.org/10.1017/s1355771819000475.

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This article explores how computation opens up possibilities for new musical practices to emerge through technology design. Using the notion of the cultural probe as a lens, we consider the digital musical instrument as an experimental device that yields findings across the fields of music, sociology and acoustics. As part of an artistic-research methodology, the instrumental object as a probe is offered as a means for artists to answer questions that are often formulated outside semantic language. This article considers how computation plays an important role in the authors’ personal performance practices in different ways, which reflect the changed mode-of-being of new musical instruments and our individual and collective relations with them.

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Tahiroğlu, Koray, Thor Magnusson, Adam Parkinson, Iris Garrefls et Atau Tanaka. « Digital Musical Instruments as Probes : How Computation Changes the Mode-of-Being of Musical Instruments ». Organised Sound 25, n^o 2 (août 2020) : 269. http://dx.doi.org/10.1017/s1355771820000187.

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Isaac Abraham Thottathil et S. Thivaharan. « Virtual Musical Instruments with Python and OpenCV ». March 2023 5, n^o 1 (23 février 2023) : 1–20. http://dx.doi.org/10.36548/jucct.2023.1.001.

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There is an increasing need for musical aspirants to have access to cheaper musical instruments. This study explores the opportunities to utilize image recognition algorithms via OpenCV to port this technology into readily available modern devices, which will enable inexpensive yet authentic methods of playing a piano. Through OpenCV and Pygame libraries, one can set up a rigid camera that will trace the player’s fingers. The fingers if they cross or hover over a specific coordinate of a key, the piano note (.wav file) will be played by Pygame’s mixer module. This simple yet inexpensive option might help first-time musical aspirants experience music in an affordable and accessible way. Furthermore, this article explores the future scope of accommodating other musical instruments.

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Ihde, Don. « A Finnish turn : Digital and synthesiser musical instruments ». Journal of New Music Research 50, n^o 2 (15 mars 2021) : 165–74. http://dx.doi.org/10.1080/09298215.2021.1906709.

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Hargs, Esther, et Joseph Rothstein. « Digital Musical Instruments and the World of MIDI ». Computer Music Journal 18, n^o 3 (1994) : 85. http://dx.doi.org/10.2307/3681192.

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Borden, David, et Joseph Rothstein. « Digital Musical Instruments and the World of MIDI ». Notes 52, n^o 1 (septembre 1995) : 161. http://dx.doi.org/10.2307/898841.

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Martin, Charles P. « Percussionist-Centred Design for Touchscreen Digital Musical Instruments ». Contemporary Music Review 36, n^o 1-2 (4 mars 2017) : 64–85. http://dx.doi.org/10.1080/07494467.2017.1370794.

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Corliss, Edith L. R. « Accessible methods for measuring the resonance properties of musical instruments ». Journal of the Acoustical Society of America 87, S1 (mai 1990) : S97. http://dx.doi.org/10.1121/1.2028447.

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Emerson, Gina, et Hauke Egermann. « Exploring the motivations for building new digital musical instruments ». Musicae Scientiae 24, n^o 3 (16 octobre 2018) : 313–29. http://dx.doi.org/10.1177/1029864918802983.

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Over the past four decades, the number, diversity and complexity of digital musical instruments (DMIs) has increased rapidly. There are very few constraints on DMI design as such systems can be easily reconfigured, offering near limitless flexibility for music-making. Given that new acoustic musical instruments have in many cases been created in response to the limitations of available technologies, what motivates the development of new DMIs? We conducted an interview study with ten designers of new DMIs, in order to explore (a) the motivations electronic musicians may have for wanting to build their own instruments; and (b) the extent to which these motivations relate to the context in which the artist works and performs (academic vs club settings). We found that four categories of motivation were mentioned most often: M1 – wanting to bring greater embodiment to the activity of performing and producing electronic music; M2 – wanting to improve audience experiences of DMI performances; M3 – wanting to develop new sounds, and M4 – wanting to build responsive systems for improvisation. There were also some detectable trends in motivation according to the context in which the artists work and perform. Our results offer the first systematically gathered insights into the motivations for new DMI design. It appears that the challenges of controlling digital sound synthesis drive the development of new DMIs, rather than the shortcomings of any one particular design or existing technology.

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Demoli, Nazif, et Ivan Demoli. « Dynamic modal characterization of musical instruments using digital holography ». Optics Express 13, n^o 13 (27 juin 2005) : 4812. http://dx.doi.org/10.1364/opex.13.004812.

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O'Modhrain, Sile. « A Framework for the Evaluation of Digital Musical Instruments ». Computer Music Journal 35, n^o 1 (mars 2011) : 28–42. http://dx.doi.org/10.1162/comj_a_00038.

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Roberts, Charles, Graham Wakefield, Matthew Wright et JoAnn Kuchera-Morin. « Designing Musical Instruments for the Browser ». Computer Music Journal 39, n^o 1 (mars 2015) : 27–40. http://dx.doi.org/10.1162/comj_a_00283.

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Native Web technologies provide great potential for musical expression. We introduce two JavaScript libraries towards this end: Gibberish.js, providing heavily optimized audio DSP, and Interface.js, a GUI toolkit that works with mouse, touch, and motion events. Together they provide a complete system for defining musical instruments that can be used in both desktop and mobile Web browsers. Interface.js also enables control of remote synthesis applications via a server application that translates the socket protocol used by Web interfaces into both MIDI and OSC messages. We have incorporated these libraries into the creative coding environment Gibber, where we provide mapping abstractions that enable users to create digital musical instruments in as little as a single line of code. They can then be published to a central database, enabling new instruments to be created, distributed, and run entirely in the browser.

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Groten, Sean. « Interviewing the musical sample ». Explorations in Media Ecology 19, n^o 3 (1 septembre 2020) : 255–66. http://dx.doi.org/10.1386/eme_00045_1.

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Digital technologies and Musical Instrument Digital Interface-sampled instruments have emerged as one of the most significant technological shifts in musical consciousness in western society. Digital music has introduced new epistemologies of music as it raises questions of authorship and creativity, while also challenging the ontological presumptions about what it means to be a musician. Through interviewing the sample by applying various posthuman heuristics, I explore my own relationship to digital music samples and sampling technology as a composer and musician. I engage in a phenomenological inquiry that surveys the various ways the sample affects my ecological milieu of music-making, and more broadly, I explore how a musician is at all times enacting an intra/actional relationship as negotiated between themselves and their instrument.

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Lyon, Eric, R. Benjamin Knapp et Gascia Ouzounian. « Compositional and Performance Mapping in Computer Chamber Music : A Case Study ». Computer Music Journal 38, n^o 3 (septembre 2014) : 64–75. http://dx.doi.org/10.1162/comj_a_00257.

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The mapping problem is inherent to digital musical instruments (DMIs), which require, at the very least, an association between physical gestures and digital synthesis algorithms to transform human bodily performance into sound. This article considers the DMI mapping problem in the context of the creation and performance of a heterogeneous computer chamber music piece, a trio for violin, biosensors, and computer. Our discussion situates the DMI mapping problem within the broader set of interdependent musical interaction issues that surfaced during the composition and rehearsal of the trio. Through descriptions of the development of the piece, development of the hardware and software interfaces, lessons learned through rehearsal, and self-reporting by the participants, the rich musical possibilities and technical challenges of the integration of digital musical instruments into computer chamber music are demonstrated.

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Aveyard, Jon, et Dan Wilkinson. « Third City 2017 : Improvisational Roles in Performances Using Live Sampling ». Open Cultural Studies 2, n^o 1 (1 décembre 2018) : 562–73. http://dx.doi.org/10.1515/culture-2018-0051.

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Abstract The 2017 set by the electroacoustic duo Third City comprised five pieces, each defined by an audio path linking different acoustic musical instruments to digital musical instruments to enable live sampling. Performances were then improvised within structures developed in rehearsal. The authors here ask how the different instruments and audio paths influenced the improvisational roles taken by the performers. Previously established differences between acoustic musical instruments and digital musical instruments are highlighted, and questions regarding their use within improvisation are articulated. A taxonomy of improvisational roles is then selected and applied to the pieces. In identifying correlations between the instruments and audio paths of the five pieces and the improvisational roles used by the performers, conclusions are reached to serve as guidance in the setting up of audio paths for other electroacoustic improvisation pieces using live sampling. This article is the result of research into practice, an asynchronous post hoc consideration (Onsman and Burke 210) of the 2017 Third City set carried out by the duo having repositioned themselves relative to their music-making selves as researchers referring to both the experience of performers and the projected experience of the audience as inferred from archive footage.

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Lee, Deborah. « Hornbostel-Sachs Classification of Musical Instruments ». KNOWLEDGE ORGANIZATION 47, n^o 1 (2020) : 72. http://dx.doi.org/10.5771/0943-7444-2020-1-72.

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This paper discusses the Hornbostel-Sachs Classification of Musical Instruments. This classification system was originally designed for musical instruments and books about instruments, and was first published in German in 1914. Hornbostel-Sachs has dominated organological discourse and practice since its creation, and this article analyses the scheme’s context, background, versions and impact. The position of Hornbostel-Sachs in the history and development of instrument classification is explored. This is followed by a detailed analysis of the mechanics of the scheme, including its decimal notation, the influential broad categories of the scheme, its warrant and its typographical layout. The version history of the scheme is outlined and the relationships between versions is visualised, including its translations, the introduction of the electrophones category and the Musical Instruments Museums Online (MIMO) version designed for a digital environment. The reception of Hornbostel-Sachs is analysed, and its usage, criticism and impact are all considered. As well as dominating organological research and practice for over a century, it is shown that Hornbostel-Sachs also had a significant influence on the bibliographic classification of music.

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Mudd, Tom, Simon Holland et Paul Mulholland. « The Role of Nonlinear Dynamics in Musicians' Interactions with Digital and Acoustic Musical Instruments ». Computer Music Journal 43, n^o 4 (octobre 2020) : 25–40. http://dx.doi.org/10.1162/comj_a_00535.

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Nonlinear dynamic processes are fundamental to the behavior of acoustic musical instruments, as is well explored in the case of sound production. Such processes may have profound and under-explored implications for how musicians interact with instruments, however. Although nonlinear dynamic processes are ubiquitous in acoustic instruments, they are present in digital musical tools only if explicitly implemented. Thus, an important resource with potentially major effects on how musicians interact with acoustic instruments is typically absent in the way musicians interact with digital instruments. Twenty-four interviews with free-improvising musicians were conducted to explore the role that nonlinear dynamics play in the participants' musical practices and to understand how such processes can afford distinctive methods of creative exploration. Thematic analysis of the interview data is used to demonstrate the potential for nonlinear dynamic processes to provide repeatable, learnable, controllable, and explorable interactions, and to establish a vocabulary for exploring nonlinear dynamic interactions. Two related approaches to engaging with nonlinear dynamic behaviors are elaborated: edge-like interaction, which involves the creative use of critical thresholds; and deep exploration, which involves exploring the virtually unlimited subtleties of a small control region. The elaboration of these approaches provides an important bridge that connects the concrete descriptions of interaction in musical practices, on the one hand, to the more-abstract mathematical formulation of nonlinear dynamic systems, on the other.

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Bown, Oliver, Alice Eldridge et Jon McCormack. « Understanding Interaction in Contemporary Digital Music : from instruments to behavioural objects ». Organised Sound 14, n^o 2 (29 juin 2009) : 188–96. http://dx.doi.org/10.1017/s1355771809000296.

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Throughout the short history of interactive digital music, there have been frequent calls for a new language of interaction that incorporates and acknowledges the unique capabilities of the computational medium. In this paper we suggest that a conceptualisation of possible modes of performance–time interaction can only be sensibly approached in light of the ways that computers alter the social–artistic interactions that are precursive to performance. This conceptualisation hinges upon a consideration of the changing roles of composition, performer and instrument in contemporary practice. We introduce the termbehavioural objectto refer to software that has the capacity to act as the musical and social focus of interaction in digital systems. Whilst formative, this term points to a new framework for understanding the role of software in musical culture. We discuss the potential for behavioural objects to contribute actively to musical culture through two types of agency:performative agencyandmemetic agency.

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Chauhan, Parul. « Auditory-Tactile Interaction Using Digital Signal Processing In Musical Instruments ». IOSR Journal of VLSI and Signal Processing 2, n^o 6 (2013) : 08–13. http://dx.doi.org/10.9790/4200-0260813.

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Dickens, Amy, Chris Greenhalgh et Boriana Koleva. « Facilitating Accessibility in Performance : Participatory Design for Digital Musical Instruments ». Journal of the Audio Engineering Society 66, n^o 4 (29 avril 2018) : 211–19. http://dx.doi.org/10.17743/jaes.2018.0010.

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Petrova, Natalia N. « Digital Musical Performance as the Refl ection of the Axiosphere of Culture and the Educational Space of the Digital Age ». ICONI, n^o 3 (2020) : 87–97. http://dx.doi.org/10.33779/2658-4824.2020.3.087-097.

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The article examines performance on contemporary digital musical instruments, such as the keyboard synthesizer, the digital piano, the digital button and keyboard accordion and others, as a direction of artistic creativity in the contemporary sociocultural space on demand by numerous music lovers and professional performers. Evaluation is given to the possibilities of functioning for electronic musical creativity in the culturalcreative, communicative and educational angles. A phenomenological analysis of performance on electronic musical instruments is carried out and data is provided about the peculiarities of the sociocultural perception among various target auditoriums. The heuristic potential of electronic music-making for the young generation is highlighted in the refl ection of the demands of generation Z on poly-timbre and multi-genres in the artistic process. Examples are brought of successful attempts of realizing of individual and ensemble digital performance which has made it possible to manifest the fundamental functions of artistic culture, to create a system of moral and aesthetic values which would be relevant for society, and to form an aesthetically organized, highly technological sociocultural milieu.

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Jack, Robert H., Adib Mehrabi, Tony Stockman et Andrew McPherson. « Action-sound Latency and the Perceived Quality of Digital Musical Instruments ». Music Perception 36, n^o 1 (1 septembre 2018) : 109–28. http://dx.doi.org/10.1525/mp.2018.36.1.109.

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Asynchrony between tactile and auditory feedback (action-sound latency) when playing a musical instrument is widely recognized as disruptive to musical performance. In this paper we present a study that assesses the effects of delayed auditory feedback on the timing accuracy and judgments of instrument quality for two groups of participants: professional percussionists and non-percussionist amateur musicians. The amounts of delay tested in this study are relatively small in comparison to similar studies of auditory delays in a musical context (0 ms, 10 ms, 10 ms ± 3 ms, 20 ms). We found that both groups rated the zero latency condition as higher quality for a series of quality measures in comparison to 10 ms ± 3 ms and 20 ms latency, but did not show a significant difference in rating between 10 ms latency and zero latency. Professional percussionists were more aware of the latency conditions and showed less variation of timing under the latency conditions, although this ability decreased as the temporal demands of the task increased. We compare our findings from each group and discuss them in relation to latency in interactive digital systems more generally and experimentally similar work on sensorimotor control and rhythmic performance.

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Clément, Alexandre, et Gilberto Bernardes. « Assessing the Influence of Multimodal Feedback in Mobile-Based Musical Task Performance ». Multimodal Technologies and Interaction 6, n^o 8 (8 août 2022) : 68. http://dx.doi.org/10.3390/mti6080068.

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Digital musical instruments have become increasingly prevalent in musical creation and production. Optimizing their usability and, particularly, their expressiveness, has become essential to their study and practice. The absence of multimodal feedback, present in traditional acoustic instruments, has been identified as an obstacle to complete performer–instrument interaction in particular due to the lack of embodied control. Mobile-based digital musical instruments present a particular case by natively providing the possibility of enriching basic auditory feedback with additional multimodal feedback. In the experiment presented in this article, we focused on using visual and haptic feedback to support and enrich auditory content to evaluate the impact on basic musical tasks (i.e., note pitch tuning accuracy and time). The experiment implemented a protocol based on presenting several musical note examples to participants and asking them to reproduce them, with their performance being compared between different multimodal feedback combinations. Collected results show that additional visual feedback was found to reduce user hesitation in pitch tuning, allowing users to reach the proximity of desired notes in less time. Nonetheless, neither visual nor haptic feedback was found to significantly impact pitch tuning time and accuracy compared to auditory-only feedback.

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Thorn, Seth Dominicus. « Flows of Inhomogeneous Matter : Improvising an augmented violin ». Organised Sound 26, n^o 1 (avril 2021) : 65–77. http://dx.doi.org/10.1017/s1355771821000066.

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This article reflects on how personal digital musical instruments evolve and presents an augmented violin developed and performed by the author in improvised performance as an example. Informed by the materialism of Gilles Deleuze and Felix Guattari, an image of ‘flows of inhomogeneous matter’ provokes reflection on a mode of production common to artisanal craftmanship and digital lutherie alike, namely the pre-reflective skilfulness negotiating the singularities of inhomogeneous matter with the demands of the production – a process which itself may be thought of as im-pro-visation (‘un-fore-seen’). According to Gilbert Simondon, all technical objects develop in this way: functional interdependency emerges when abstractly ideated elements begin to enter into unanticipated synergistic relationships, suggesting a material logic dependent on unforeseen potentialities. The historical development of the acoustic violin exemplifies such an evolution, with, like all technical objects, additional latent potential. Digital artists can work like artisanal craftsmen in tinkering with technical elements, teasing out their synergies through abductive, trial-and-error experimentation. In the context of developing digital musical instruments, model-free design of real-time digital signal processing symmetrising action and perception yields highly refined results. Like musical improvisation – constrained by time – improvised development of these instruments turns the material obstacles into their very means of realisation.

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Gfeller, Kate, et Charissa R. Lansing. « Melodic, Rhythmic, and Timbral Perception of Adult Cochlear Implant Users ». Journal of Speech, Language, and Hearing Research 34, n^o 4 (août 1991) : 916–20. http://dx.doi.org/10.1044/jshr.3404.916.

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The purpose of this pilot study was to investigate adult Ineraid and Nucleus cochlear implant (CI) users’ perceptual accuracy for melodic and rhythmic patterns, and quality ratings for different musical instruments. Subjects were 18 postlingually deafened adults with CI experience. Evaluative measures included the Primary Measures of Music Audiation (PMMA) and a Musical Instrument Quality Rating. Performance scores on the PMMA were correlated with speech perception measures, music background, and subject characteristics. Results demonstrated a broad range of perceptual accuracy and quality ratings across subjects. On these measures, performance for temporal contrasts was better than for melodic contrasts independent of CI device. Trends in the patterns of correlations between speech and music perception suggest that particular structural elements of music are differentially accessible to cochlear implant users. Additionally, notable qualitative differences for ratings of musical instruments were observed between Nucleus and Ineraid users

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Zoran, Amit. « The 3D Printed Flute : Digital Fabrication and Design of Musical Instruments ». Journal of New Music Research 40, n^o 4 (décembre 2011) : 379–87. http://dx.doi.org/10.1080/09298215.2011.621541.

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Murray-Leslie, Alexandra. « Fashion acoustics : Synthesizing wearable electronics and digital musical instruments for performance ». Critical Studies in Fashion & ; Beauty 5, n^o 1 (1 octobre 2014) : 141–61. http://dx.doi.org/10.1386/csfb.5.1.141_1.

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Lazzarini, Victor. « Erratum : New Digital Musical Instruments : Control and Interaction Beyond the Keyboard ». Computer Music Journal 32, n^o 2 (juin 2008) : 4. http://dx.doi.org/10.1162/comj.2008.32.2.4b.

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Gurevich, Michael, et A. Cavan Fyans. « Digital Musical Interactions : Performer–system relationships and their perception by spectators ». Organised Sound 16, n^o 2 (28 juin 2011) : 166–75. http://dx.doi.org/10.1017/s1355771811000112.

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This article adopts an ecological view of digital musical interactions, considering first the relationship between performers and digital systems, and then spectators’ perception of these interactions. We provide evidence that the relationships between performers and digital music systems are not necessarily instrumental in the same was as they are with acoustic systems, and nor should they always strive to be. Furthermore, we report results of a study indicating that spectators may not perceive such interactions in the same way as performances with acoustic musical instruments. We present implications for the design of digital musical interactions, suggesting that designers should embrace the reality that digital systems are malleable and dynamic, and may engage performers and spectators in different modalities, sometimes simultaneously.

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Georgieva Fileva – Ruseva, Krasimira. « MUSICAL MEANS OF EXPRESSION TAUGHT VIA AN ELECTRONIC TEXTBOOK FOR FOURTH GRADE OF THE GENERAL EDUCATION SCHOOL ». Knowledge International Journal 34, n^o 6 (4 octobre 2019) : 1697–702. http://dx.doi.org/10.35120/kij34061697g.

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Musical means of expression - this is the language of music, the materialization of the idea of the one who created the particular musical work, the means by which the listeners can reach the author's idea. Knowledge of some musical means of expression, such as harmony and polyphony, requires a long preparation, they are accessible to professionals. Others, such as dynamics (force of sounding), rhythm, metrum, timbre, the main characteristics of the melody, are accessible to any listener who is familiar with their possible meanings. Due to the great importance of the musical means of expression to understand the meaning, the message of the work, they are studied in music classes in the Bulgarian general education school in a form accessible to the age of the students. The music curricula require the teaching musical means of expression each school year. Initially, they are presented in the most elementary form without introducing terms, gradually, with each new school year, knowledge is upgraded and complicated. In this publication, I will present some of the tasks involved in teaching musical means of expression through the electronic textbook for fourth grade at Prosveta Publishing House.At first tasks are placed for mastering the new information. Such tasks are, for example:- Horizontal arrangement of dynamic signs, starting from the sign for quietest sounding to the sign for strongest sounding. Graphs of dynamic signs are offered that students to rearrange to the correct order;- Tasks of calculating durations, such as “at three-quarters size, which groups of note values make one beat?” Of the suggested answers, “a half and two eighths”, “a dotted quarter and three eighths” are true;- Tasks for arranging of photos of known for the pupils musical instruments in a table by indications: strings, plucked strings, wind instruments, keyboard instruments, percussion instruments; as well as "Bulgarian folk" and "classical".Later the tasks become more complicated. In another electronic resource the students listen to the piano piece "Bagpipe" by Bulgarian composer Dimitar Nenov, but the title of the piece does not reported. Fourth-graders, answering the following questions: what dynamics prevail in the play; whether a low voice that maintains the same tone sounds and for which Bulgarian folk instrument this is distinctive; in which folk musical instrument the initial tone of the melody is reached with a slight "sliding" in an upward direction; have to guess which Bulgarian folk music instrument is imitated.In a next task, students are asked to indicate by what musical means of expression - what size, character of melody, character of accompaniment - the characters of a child operetta on the Andersen story "The Brave Lead Soldier" are depicted.In other electronic resources, students are now required to compose a brief musical description of the characters of the fable "Grig and Ant". At first, students answer questions about what is the nature of each of the two characters - grig is cheerful, irresponsible, lazy, vain, party-goer and a little cheeky, and ant is hardworking, unpretentious, thrifty, even stingy, devoid of compassion. Through successive questions are clarified the appropriate dynamics, timbre, metrum, rhythm and character of the melody to "portray" the characters. Then pupils proceed to composing.

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Bellona, Jon. « Physical Intentions : Exploring Michel Waisvisz’s The Hands (Movement 1) ». Organised Sound 22, n^o 3 (24 novembre 2017) : 406–17. http://dx.doi.org/10.1017/s1355771817000450.

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Through a musical examination of The Hands (Movement 1) (1986), this article reveals musical developments of Michel Waisvisz’s early performance practice with The Hands. Waisvisz’s digital musical instrument, The Hands, helped shape the body as a recognisable agent of musical structure; this article details how the instrument controls relate to musical gesture and reveals the physical efforts of the composer through spectral analyses of the sound recording and an investigation of a 1987 performance video. The rich context of The Hands – the instrument controls, Waisvisz’s decades-long dedication to the instrument’s potential and, more centrally, the exploration of human effort in performance – have made this pioneering live-performance system for electronic music stand for more than just a musical instrument. Many authors cite Michel Waisvisz’s Hands technology but few provide musical analyses of Waisvisz’s music. The musical analysis of The Hands (Movement 1) (1986) highlights the art practice of a seminal composer–performer through one of his most important digital musical instruments and signals how the body became an instrument for playing digital electronic music.

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Huovinen, Erkki, et Heli Rautanen. « Interaction affordances in traditional instruments and tablet computers : A study of children’s musical group creativity ». Research Studies in Music Education 42, n^o 1 (29 juin 2019) : 94–112. http://dx.doi.org/10.1177/1321103x18809510.

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In order to promote children’s collaborative musical creativity in new digital environments, we need a better understanding not only of the sound production capabilities provided by the new digital tools, but also of the interaction affordances involved. This study focuses on the interactional patterns emerging in children’s musical creativity, comparing creative group processes on iPad tablet computers (with GarageBand software) to processes on traditional musical instruments. Both instrumentations were assigned to five groups of four 10–12-year-olds for creating sound landscapes for a “space” movie. The traditional instrument groups’ processes were characterized by peer teaching as well as multimodal, improvisatory negotiations with rapid exchanges between the participants, both kinds of processes involving the intertwining of deictic expressions with hands-on musical demonstrations, and clear signs of group flow. By contrast, the tablet groups relied on solitary, parallel planning processes where possible coordinations between the participants took on a more abstract, conceptual form, at a remove from the actual musical ideas and their interplay. Also, there were far fewer signs of group flow than in the traditional instrument groups. In sum, the tablets did not seem to match traditional musical instruments in terms of their interactional and creative affordances. This may be because the traditional instruments offer richer textures of gestural and tactile qualities, visual cues, and spatial anchoring points for facilitating concrete musical interaction, and because the GarageBand software actually requires some reliance on abstract conceptual labels, channelling the participants’ attention toward pre-planning rather than hands-on musical play. The results are problematized with a view to our decision to treat the tablet computer as akin to a musical instrument rather than as an action environment of its own.

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Çamcı, Anıl, et John Granzow. « Hyperreal Instruments : Bridging VR and Digital Fabrication to Facilitate New Forms of Musical Expression ». Leonardo Music Journal 29 (décembre 2019) : 14–18. http://dx.doi.org/10.1162/lmj_a_01056.

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Virtual Reality (VR) and digital fabrication technologies today are ushering in a new wave of opportunities in instrument design; the marriage of these two domains, seemingly at odds with each other, can bring impossible instruments to life. In this article, the authors first sample such instruments throughout history. The authors also look at how technology has facilitated the materialization of impossible instruments from the twentieth century on. They then discuss the bridging of VR and fabrication as a new frontier in instrument design, where synthetic sounds can be used to condition an equally synthetic sensory scaffolding upon which the time-varying spectra can be interactively anchored: The result is new instruments that can defy our sense of audiovisual reality while satisfying our proprioceptive and haptic expectations. The authors report on their ongoing work as well as their projections of how emerging technologies in VR and fabrication will shape the design of new musical interfaces.

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Charrieras, Damien, et François Mouillot. « Getting Out of the Black Box : analogising the use of computers in electronic music and sound art ». Organised Sound 20, n^o 2 (7 juillet 2015) : 191–99. http://dx.doi.org/10.1017/s1355771815000072.

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The process of creating computer-based music is increasingly being conceived in terms of complex chains of mediations involving composer/performer and computer software interactions that prompt us to reconsider notions of materiality within the context of digital cultures. Recent scholarship has offered particularly useful re-evaluations of computer music software in relation to musical instrumentality. In this article, we contend that given the ubiquitous presence of computer units within contemporary musical practices, it is not simply music software that needs to be reframed as musical instruments, but rather the diverse material strata of machines identified as computers that need to be thought of as instruments within music environments. Specifically, we argue that computers, regardless of their technical specifications, are not only ‘black boxes’ or ‘meta-tools’ that serve to control music software, but are also material objects that are increasingly being used in a wide range of musical and sound art practices according to an ‘analog’ rather than ‘digital’ logic. Through a series of examples implicating both soft and hard dimensions of what constitutes computers, we provide a preliminary survey of practices calling for the need to rethink the conceptual divide between analog and digital forms of creativity and aesthetics.

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