scholarly journals The Instrument as the Source of New in New Music

Design Issues ◽  
2017 ◽  
Vol 33 (3) ◽  
pp. 37-55 ◽  
Author(s):  
Kristina Andersen ◽  
Dan Gibson
Keyword(s):  
Design Process ◽  
Agenda Setting ◽  
Musical Instrument ◽  
Instrument Design ◽  
New Music ◽  
Musical Performance ◽  
Musical Sound ◽  
Cultural Objects ◽  
Tactile Interaction ◽  
New Instruments

How can we treat technological matter as yet another material from which our notions of possible future instruments can be constructed, intrinsically intertwined with, and informed by a practice of performance? We strive to develop musical-performance instruments not only by creating technology, but also in developing them as aesthetic and cultural objects. A musical instrument is not an interface and should not be designed as such; instead, new instruments are the source of new in new music. Like any traditional instrument, a new instrument's potential for producing quality musical sound can only be revealed when it is played. We present an instrument-design process conducted by a visionary and an agenda-setting musician. The resulting objects are experimental prototypes of technological matter, which allow analysis and meaning to be specified through physical and tactile interaction with the objects themselves. As the instruments evolve through various stages, their capability is continually enhanced, making them all the more desirable for musicians to play.

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.

Crossover Accordionists

2017 ◽  
Author(s):  
Marion Jacobson
Keyword(s):  
Youth Culture ◽  
New Music ◽  
New Models ◽  
The Future ◽  
Rock N Roll ◽  
New Instruments

This chapter resumes the accordion's history at around the year 1963, after the accordion had reached the height of its popularity and America's youth were beginning to embrace new music and new instruments. Looking at the accordion in the context of the rock 'n' roll invasion and the rise of youth culture, this chapter examines the accordion industrial complex's efforts to extend its popularity—focusing on a trickle of new models equipped with features for rock accordionists. Yet the chapter also shows how this new sense of excitement about the future of the accordion subsided and how playing the accordion became, for all intents and purposes, geeky and uncool.

scholarly journals Biological Specifics of Musical Performing Memory Essence for Musical Performance Efficiency

2020 ◽  
Vol 8 (2) ◽  
Author(s):  
Maria Dymnikowa ◽  
Elena A. Ogorodnikova ◽  
Valentin I. Petrushin
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Music Performance ◽  
Musical Instrument ◽  
Emotional Memory ◽  
Musical Performance ◽  
Music Pedagogy ◽  
Target Level ◽  
Structural Components ◽  
Effective Work

In classical music art discipline, the memory for musical performance (i.e., music performing memory MPM) at typological analysis level is the type of musical executive prospective memory. based on executive functions and biological conditions. Its structural components are semantic declarative, kinesthetic, and emotional memory. Musical performance concern the production of musical artwork by vocal or musical instrument forms. The efficiency of this process is conditioned by ergonomic, effective work on learning, and memorizing the music. It is regulated and organized from the level of ‘reading a vista’ the musical notes text until completed memorizing for target level of music performance. The article, from the health psychology mainstream, presents methodical, practical tips with recommendations resulting from the biological principles, regularities, and specifics of this process revealed in the empirical data of such areas as neuropsychology, psychophysiology, cognitive psychology, biological psychology, and music pedagogy, with additional independent empirical verification in counseling of musicians at professional music education level. 

scholarly journals Connecting Free Improvisation Performance and Drumming Gestures Through Digital Wearables

2021 ◽  
Vol 12 ◽  
Author(s):  
Amandine Pras ◽  
Mailis G. Rodrigues ◽  
Victoria Grupp ◽  
Marcelo M. Wanderley
Keyword(s):  
Design Process ◽  
Interface Design ◽  
Performance Test ◽  
Musical Instrument ◽  
Public Performance ◽  
Free Improvisation ◽  
Sound Control ◽  
Body Sensors ◽  
Artistic Vision ◽  
High Level

High-level improvising musicians master idiosyncratic gesture vocabularies that allow them to express themselves in unique ways. The full use of such vocabularies is nevertheless challenged when improvisers incorporate electronics in their performances. To control electronic sounds and effects, they typically use commercial interfaces whose physicality is likely to limit their freedom of movement. Based on Jim Black's descriptions of his ideal digital musical instrument, embodied improvisation gestures, and stage performance constraints, we develop the concept of a modular wearable MIDI interface to closely meet the needs of professional improvisers, rather than proposing a new generic instrument that would require substantial practice to adapt improvisational techniques already acquired. Our research draws upon different bodies of knowledge, from theoretical principles on collaboration and embodiment to wearable interface design, in order to create a digital vest called Track It, Zip It (TIZI) that features two innovative on-body sensors. Allowing for sound control, these sensors are seamlessly integrated with Black's improvisational gesture vocabulary. We then detail the design process of three TIZI prototypes structured by the outcomes of a performance test with Black, a public performance by a novice improviser during the 2017 International Guthman Musical Instrument Competition, and measurements of sensor responses. After commenting on the strengths and weaknesses of the final TIZI prototype, we discuss how our interdisciplinary and collective process involving a world-class improviser at the very center of the design process can provide recommendations to designers who wish to create interfaces better adapted to high-level performers. Finally, we present our goals for the future creation of a wireless version of the vest for a female body based on Diana Policarpo's artistic vision.

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

Mastering the Multitrack

2018 ◽  
Author(s):  
Adam Patrick Bell
Keyword(s):  
Music Education ◽  
Musical Instrument ◽  
New Music ◽  
Trial And Error ◽  
Music Production ◽  
Error Learning

Chapter 8 discusses the significance of the studio as musical instrument and its implications for music education. The stories of Michael, Tara, Tyler, and Jimmy depict a music education with DIY studios that is largely devoid of teachers and schools. Their collective quest to make new music and realize new sonic textures by their own volition has spawned an approach to making music that is typified by trial-and-error learning. Their end goal is to make music, implying that learning occurs tacitly as a by-process. On the surface, trial-and-error learning appears cumbersome and inefficient, but it is a time-honored practice in music production, and the likes of Michael, Tara, Tyler, and Jimmy are continuing its evolution. Music education would do well to follow in their footsteps.

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