The Musical Interface Technology Design Space

2009 ◽  
Vol 14 (2) ◽  
pp. 217-226 ◽  
Author(s):  
Dan Overholt
Keyword(s):  
Design Patterns ◽  
Design Space ◽  
Musical Instrument ◽  
Primary Objective ◽  
Musical Instruments ◽  
Musical Composition ◽  
Synthesis Methods ◽  
Technology Design ◽  
Interface Synthesis ◽  
And Performance

This article presents a theoretical framework for the design of expressive musical instruments, the Musical Interface Technology Design Space: MITDS. The activities of imagining, designing and building new musical instruments, performing, composing, and improvising with them, and analysing the whole process in an effort to better understand the interface, our physical and cognitive associations with it, and the relationship between performer, instrument and audience can only be seen as an ongoing iterative work-in-progress. It is long-term evolutionary research, as each generation of a new musical instrument requires inventiveness and years of dedication towards the practice and mastery of its performance system (comprising the interface, synthesis and the mappings between them). Many revisions of the system may be required in order to develop musical interface technologies that enable us to achieve truly expressive performances. The MITDS provides a conceptual framework for describing, analysing, designing and extending the interfaces, mappings, synthesis algorithms and performance techniques for interactive musical instruments. It provides designers with a theoretical base to draw upon when creating technologically advanced performance systems, and can be seen as a set of guidelines for analysis, and a taxonomy of design patterns for interactivity in musical instruments. The MITDS focuses mainly on human-centred design approaches to realtime control of the multidimensional parameter spaces in musical composition and performance, where the primary objective is to close the gap between human gestures and complex synthesis methods.

scholarly journals Trautonium: peculiarities of compositions for the electronic musical instrument

2020 ◽  
pp. 141-148
Author(s):  
Elena Nikolaevna Piryazeva
Keyword(s):  
Electronic Music ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Musical Composition ◽  
Audio Recordings ◽  
The Subject ◽  
The Common ◽  
Video And Audio ◽  
Characteristic Features ◽  
New Generation

The subject of this research is the electronic musical instrument trautonium and characteristic features of compositions written for this instrument. The advancement of electronic music and its instruments is substantiated by innovative transformation, constant emergence of new devices, their improvement and phasing out or transitions into a new generation of devices. One of such electronic musical instruments is trautonium, invented in the first half of the XX century. It did not gain much popularity, but gather its own repertoire and library of video and audio recordings. In the course of this research, the author applied the following methods: historical and systemic approaches; methods of integral, structural, stylistic, and comparative analysis. The novelty is defined consists in the subject of research, range of compositions attracted for musicological analysis, and the angle of their view. The author determines the common to compositions for trautonium concert character of performance reflected in the set of aesthetic and technological principles on various levels of musical composition.

scholarly journals Ecoacoustic and shamanic technologies for multimedia composition and performance

2005 ◽  
Vol 10 (1) ◽  
pp. 3-19 ◽  
Author(s):  
MATTHEW BURTNER
Keyword(s):  
Musical Instrument ◽  
Instrument Design ◽  
Musical Composition ◽  
Close Connection ◽  
Composition Theory ◽  
Far North ◽  
Environmental Systems ◽  
The Creation ◽  
And Performance ◽  
Multimedia Performance

The author's close connection to traditional Alaskan culture has inspired the creation and implementation of new multimedia instruments based on the use of ritual objects in shamanic cultures of the far north. Simultaneously, the musical processes articulated by this music are structurally tied to environmental systems in a technique discussed here as ‘ecoacoustics’. In this work, performer/composer interaction, musical composition theory, multimedia performance, and musical instrument design have been transformed in response to these influences.

scholarly journals The Architectonics of Musical Sound

ICONI ◽  
2019 ◽  
pp. 112-128
Author(s):  
Irina B. Gorbunova ◽  
Keyword(s):  
Musical Instrument ◽  
Musical Instruments ◽  
Musical Composition ◽  
Basic Principles ◽  
Musical Sound ◽  
Music Making ◽  
Wide Range ◽  
Fast Development ◽  
Musical Sounds ◽  
Computer Generation

At the turn of the 20th and 21st centuries there appeared a new trend in musical composition and musical pedagogy conditioned by the fast development of electronic musical instruments: from the simplest synthesizers to powerful musical computers. In the wide range contemporary electronic musical instrument the accumulated informational technologies in music and the art of music making have manifested themselves in the fullest and most perfect manner. The current and the subsequent issues of the journal shall provide a consecutive presentation of four lectures, compiling the basis of the discipline “Informational Technologies in Music” and a set of programs of advanced training, which include “Informational Technologies in Music,” “Informational Technologies in Musical Education,” “Computer Musical Composition,” etc. The first lecture, “The Architectonics of Musical Sound” shall disclose themes connected with the study of the physical characteristics of musical sounds, the means of their recording and reproduction; explanation is given to the aural perception of sound by the human being, and the basic principles of computer generation of musical sound are examined. The material elucidated in the lection possesses a theoretical and practical directedness and contains information in which the technological aspects of contemporary perceptions of music, about the musical instrument range (including computer musical instruments); without knowledge of these aspects a competent interpretation of musical instruments is impossible.

scholarly journals Digital Musical Instruments as Probes: How computation changes the mode-of-being of musical instruments

2020 ◽  
Vol 25 (1) ◽  
pp. 64-74 ◽  
Author(s):  
Koray Tahıroğlu ◽  
Thor Magnusson ◽  
Adam Parkinson ◽  
Iris Garrelfs ◽  
Atau Tanaka
Keyword(s):  
Research Methodology ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Experimental Device ◽  
Technology Design ◽  
Performance Practices ◽  
Musical Practices ◽  
Personal Performance ◽  
Mode Of Being ◽  
Artistic Research

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.

scholarly journals Creativity and Innovation of Artist in Maintaining and Developing the Songah Tradition Art

2020 ◽  
Vol 20 (2) ◽  
pp. 213-222
Author(s):  
Ridwan Ridwan ◽  
Tati Narawati ◽  
Uus Karwati ◽  
Yudi Sukmayadi
Keyword(s):  
Creative Process ◽  
Positive Impact ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Musical Composition ◽  
Traditional Art ◽  
The People ◽  
The Times ◽  
Traditional Arts ◽  
Creativity And Innovation

Songah is one of the traditional arts originating from Citengah Village, Sumedang Regency. This art was formed from the creativity and innovation of the people of Citengah Village, Sumedang Regency to maintain the existence of traditional arts. Based on concern and love for their culture, the community continues to make reforms so that the existence of the songah art is maintained and can keep up with the times. This study aims to describe and analyze the creativity and innovation of society in utilizing existing natural resources as an effort to maintain and develop the songah traditional art. Through a qualitative approach and descriptive methods, the researchers reveal the creative process carried out by the people of Citengah Village in maintaining and developing the songah art. This study’s data were collected through observation, interviews, and strengthened by a literature review, which was then analyzed using descriptive qualitative techniques. The results showed that the creativity of the people of Citengah Village in maintaining and developing the songah traditional art can be seen in the aspects of natural resource management in the area. The community changed songong, which is a means of blowing fire in a furnace (Sundanese: Hawu), into an art tool called songah (songsong Citengah/songong kabungah). As a musical instrument having no tone, people who are members of the community collaborate songsong with other musical instruments to produce a unique musical composition. The development of the s art cannot be separated from the innovation of the community that collaborates songah with other musical instruments. This has a positive impact on the songah art so that it can be side by side and not less competitive with other traditional arts, including arts originating from abroad. Based on the results of existing research, the development of community’s creativity and innovation in maintaining the existence of art needs to be done continuously to anticipate being alienated and the loss of traditional arts.

The Environmental Design Space: Modeling and Performance Updates

2021 ◽  
Author(s):  
Luis Salas Nunez ◽  
Jimmy C. Tai ◽  
Dimitri N. Mavris
Keyword(s):  
Design Space ◽  
Environmental Design ◽  
Space Modeling ◽  
And Performance

Advances in MXene Films: Synthesis, Assembly, and Applications

2021 ◽  
Author(s):  
Xiaohua Li ◽  
Feitian Ran ◽  
Fan Yang ◽  
Jun Long ◽  
Lu Shao
Keyword(s):  
Spin Coating ◽  
Reaction Mechanisms ◽  
Membrane Separation ◽  
Synthesis Methods ◽  
Metal Carbides ◽  
Max Phases ◽  
Practical Applications ◽  
Coating Methods ◽  
And Performance ◽  
Important Form

AbstractA growing family of two-dimensional (2D) transition metal carbides or nitrides, known as MXenes, have received increasing attention because of their unique properties, such as metallic conductivity and good hydrophilicity. The studies on MXenes have been widely pursued, given the composition diversity of the parent MAX phases. This review focuses on MXene films, an important form of MXene-based materials for practical applications. We summarized the synthesis methods of MXenes, focusing on emerging synthesis strategies and reaction mechanisms. The advanced assembly technologies of MXene films, including vacuum-assisted filtration, spin-coating methods, and several other approaches, were then highlighted. Finally, recent progress in the applications of MXene films in electrochemical energy storage, membrane separation, electromagnetic shielding fields, and burgeoning areas, as well as the correlation between compositions, architecture, and performance, was discussed.

scholarly journals Characterizing prototypical musical instrument timbres with Timbre Trait Profiles

2021 ◽  
pp. 102986492110015
Author(s):  
Lindsey Reymore
Keyword(s):  
Musical Instrument ◽  
Musical Instruments ◽  
Latent Structure ◽  
Dimensional Model ◽  
Wind Ensembles ◽  
Rating Data ◽  
Corpus Studies ◽  
Cognitive Research ◽  
Euclidean Distances ◽  
Semantic Distances

This paper offers a series of characterizations of prototypical musical timbres, called Timbre Trait Profiles, for 34 musical instruments common in Western orchestras and wind ensembles. These profiles represent the results of a study in which 243 musician participants imagined the sounds of various instruments and used the 20-dimensional model of musical instrument timbre qualia proposed by Reymore and Huron (2020) to rate their auditory image of each instrument. The rating means are visualized through radar plots, which provide timbral-linguistic thumbprints, and are summarized through snapshot profiles, which catalog the six highest- and three lowest-rated descriptors. The Euclidean distances among instruments offer a quantitative operationalization of semantic distances; these distances are illustrated through hierarchical clustering and multidimensional scaling. Exploratory Factor Analysis is used to analyze the latent structure of the rating data. Finally, results are used to assess Reymore and Huron’s 20-dimensional timbre qualia model, suggesting that the model is highly reliable. It is anticipated that the Timbre Trait Profiles can be applied in future perceptual/cognitive research on timbre and orchestration, in music theoretical analysis for both close readings and corpus studies, and in orchestration pedagogy.

scholarly journals A FIELD GUIDE TO SONIC BOTANY: THOUGHTS ABOUT ECO-COMPOSITION

Tempo ◽  
2020 ◽  
Vol 75 (295) ◽  
pp. 31-44
Author(s):  
Maayan Tsadka
Keyword(s):  
Organic Matter ◽  
Performance Practice ◽  
Musical Instruments ◽  
Musical Composition ◽  
Notation System ◽  
Field Guide ◽  
The Past ◽  
Tuning Forks ◽  
Texture Size ◽  
Ongoing Project

AbstractSonic botany is an ongoing project that I have been developing over the past few years. It incorporates natural artefacts: dry leaves, pods, flowers, branches, rocks, bones and other organic findings. These are used as musical instruments that are played on with a scientific/musical tool: tuning forks in various frequencies. The vibration from the tuning forks resonates through the natural artefacts which amplify the vibration and – via sound – reveal the texture, size, material and condition of the organic matter. This process generates new sonic material, new context and new forms of musical composition. The practice developed into several compositions and projects, a performance practice, a notation system and a way of listening. Here I share some of the insights I gained through this process, the tools and the compositional framework.

Compositional and Performance Mapping in Computer Chamber Music: A Case Study

2014 ◽  
Vol 38 (3) ◽  
pp. 64-75 ◽  
Author(s):  
Eric Lyon ◽  
R. Benjamin Knapp ◽  
Gascia Ouzounian
Keyword(s):  
Chamber Music ◽  
Musical Instruments ◽  
Lessons Learned ◽  
Mapping Problem ◽  
Software Interfaces ◽  
Digital Synthesis ◽  
The Rich ◽  
Physical Gestures ◽  
And Performance ◽  
Musical Interaction

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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