Developing and teaching an interdisciplinary musical instrument design course at the Cooper Union

2016 ◽  
Vol 139 (4) ◽  
pp. 2096-2096 ◽  
Author(s):  
Martin S. Lawless ◽  
Melody Baglione ◽  
George W. Sidebotham
Keyword(s):  
Musical Instrument ◽  
Instrument Design

scholarly journals Correction to: from AI, creativity and music to IoT, HCI, musical instrument design and audio interaction: a journey in sound

2021 ◽  
Author(s):  
Alan Chamberlain ◽  
Adrian Hazzard ◽  
Elizabeth Kelly ◽  
Mads Bødker ◽  
Maria Kallionpää
Keyword(s):  
Musical Instrument ◽  
Instrument Design

Opportunities for Practice-Based Research in Musical Instrument Design

Leonardo ◽  
2016 ◽  
Vol 49 (1) ◽  
pp. 82-83 ◽  
Author(s):  
Andrew Johnston
Keyword(s):  
Musical Instrument ◽  
Instrument Design ◽  
Design Practice ◽  
Musical Expression ◽  
Musical Interactions ◽  
Practice Based Research ◽  
The Relationship

This paper considers the relationship between design, practice and research in the area of New Interfaces for Musical Expression (NIME). The author argues that NIME practitioner-researchers should embrace the instability and dynamism inherent in digital musical interactions in order to explore and document the evolving processes of musical expression.

New Musical Instrument Design Considerations

2013 ◽  
Vol 20 (4) ◽  
pp. 76-84 ◽  
Author(s):  
Garth Paine
Keyword(s):  
Musical Instrument ◽  
Instrument Design ◽  
Design Considerations

Shape optimization techniques for musical instrument design

2001 ◽  
Vol 110 (5) ◽  
pp. 2648-2648 ◽  
Author(s):  
Luis Henrique ◽  
José Antunes ◽  
João Soeiro de Carvalho
Keyword(s):  
Shape Optimization ◽  
Musical Instrument ◽  
Instrument Design ◽  
Optimization Techniques

Timbre and Polyphony in Balinese Gamelan

2018 ◽  
Author(s):  
Michael Tenzer
Keyword(s):  
Musical Instrument ◽  
Instrument Design ◽  
General Description ◽  
Design Features ◽  
Varying Thickness ◽  
Balinese Gamelan ◽  
Musical Practices ◽  
Sound Spectrum ◽  
Single Instrument

Musical instrument design and aesthetic desiderata for a shimmering bronze sound determine the tuning, timbre, and range of orchestral possibilities in the Balinese gamelan gong kebyar. This chapter considers the gamelan, paradoxically, as both a timbrally unified “single” instrument modularly constructed for performance by two dozen players, and as a collection of separate instruments with varied musical roles. The gamelan is timbrally unified because the sound spectrum of the full ensemble is an amplification of individual instruments’ spectra, and simultaneously it is timbrally diverse due to differing instrument ranges, mallet hardnesses, and varying thickness or shape of bronze keys and gongs. Starting from a general description of the instruments, the chapter explains the design features and musical practices step-by-step, pairing this with transcriptions and pedagogical recordings making the polyphony comprehensible and audible.

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.

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