scholarly journals The construction and evaluation of a musical glove

2019 ◽  
Author(s):  
Gustavo Nishihara ◽  
Tiago Fernandes Tavares
Keyword(s):  
Embedded System ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Sound Synthesis ◽  
Musical Expression ◽  
Hand Gestures ◽  
Control Interface ◽  
Computational Resources ◽  
Electronic Sensors ◽  
Digital Sound

A digital musical instrument is different from an acoustic one because its gesture controllers are decoupled from the sound synthesis. Because of this, it is possible to separately design the control interface and the sound synthesis independently, and then digitally implement the gesture-sound mapping. This allows diverse possibilities for musical expression. A particular kind of digital musical instruments are musical gloves. They can capture the hand gestures, which are later mapped into sounds. By means of electronic sensors and digital sound synthesis, this work consisted of building a musical glove. In the development of the work the gesture-sound mapping and sound possibilities were explored in an embedded system with low computational resources.

scholarly journals Exploring the motivations for building new digital musical instruments

2018 ◽  
Vol 24 (3) ◽  
pp. 313-329 ◽  
Author(s):  
Gina Emerson ◽  
Hauke Egermann
Keyword(s):  
Electronic Music ◽  
Interview Study ◽  
Musical Instruments ◽  
Sound Synthesis ◽  
Responsive Systems ◽  
The Past ◽  
Music Making ◽  
Digital Sound

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.

scholarly journals Ha Dou Ken Music: Mapping a joysticks as a musical controller

2019 ◽  
Author(s):  
Gabriel Lopes Rocha ◽  
João Teixeira Araújo ◽  
Flávio Luiz Schiavoni
Keyword(s):  
Popular Culture ◽  
Musical Instrument ◽  
Sound Synthesis ◽  
Musical Expression ◽  
Interaction Interface ◽  
Ease Of Access ◽  
Musical Interaction ◽  
Electronic Games ◽  
Musical Creation

The structure of a digital musical instrument (DMI) can be splitted up in three parts: interface, mapping and synthesizer. For DMI’s, in which sound synthesis is done via software, the interaction interface serves to capture the performer’s gestures, which can be mapped under various techniques to different sounds. In this work, we bring videogame controls as an interface for musical interaction. Due to its great presence in popular culture and its ease of access, even people who are not in the habit of playing electronic games possibly interacted with this kind of interface once in a lifetime. Thus, gestures like pressing a sequence of buttons, pressing them simultaneously or sliding your fingers through the control can be mapped for musical creation. This work aims the elaboration of a strategy in which several gestures captured by the interface can influence one or several parameters of the sound synthesis, making a mapping denominated many to many. Buttons combinations used to perform game actions that are common in fighting games, like Street Fighter, were mapped to the synthesizer to create a music. Experiments show that this mapping is capable of influencing the musical expression of a DMI making it closer to an acoustic instrument.

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.

An Analytical Study of the Folk Musical Instruments of Meghalaya

2021 ◽  
Vol 66 (1) ◽  
pp. 23-38
Author(s):  
Joyanta Sarkar ◽  
Anil Rai
Keyword(s):  
20Th Century ◽  
Folk Music ◽  
Analytical Study ◽  
Musical Instrument ◽  
Folk Songs ◽  
Musical Instruments ◽  
Indian State ◽  
Material Benefits ◽  
Local Materials ◽  
Over Time

"Meghalaya is a richly inhabited Indian state. Drums, flutes of bamboo and hand-held small cymbals are a common ensemble. The advent of Christianity in the middle of the 20th century marked the start of a decline in tribal popular music. Over time, Meghalaya’s music scene has evolved, attracting many talented artists and bands from both traditional and not-so traditional genres. Any of the most recent Meghalaya musicians and bands is: The Plague Throat, Kerios Wahlang, Cryptographik Street Poets, etc., Soulmate, Lou Majaw, and Snow White. Meghalaya’s music is characterised by traditional instruments and folk songs. The Musical Instruments of Meghalaya are made from local materials. Meghalayan people honour powerful natural forces and aim to pacify animistic spirits and local gods. The instruments are made of bamboo, flesh, wood, and animal horn. Any one of these musical instruments is considered to have the ability to offer material benefits. The Meghalaya musical instrument is an essential part of traditional folk music in the region. In this article, we offer an overview of the folk musical instruments of Meghalaya. Keywords: Idiophone, Aerophone, Chordophone, Membranophone, Trumpet. "

3D printing technology in musical instrument research: reviewing the potential

2018 ◽  
Vol 24 (9) ◽  
pp. 1511-1523 ◽  
Author(s):  
Antreas Kantaros ◽  
Olaf Diegel
Keyword(s):  
Additive Manufacturing ◽  
Design Methodology ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Wind Instruments ◽  
Content Type ◽  
New Class ◽  
History Of ◽  
New Applications ◽  
Practical Implications

Purpose This paper aims to discuss additive manufacturing (AM) in the context of applications for musical instruments. It examines the main AM technologies used in musical instruments, goes through a history of musical applications of AM and raises the questions about the application of AM to create completely new wind instruments that would be impossible to produce with conventional manufacturing. Design/methodology/approach A literature research is presented which covers a historical application of AM to musical instruments and hypothesizes on some potential new applications. Findings AM has found extensive application to create conventional musical instruments with unique aesthetics designs. It’s true potential to create entirely new sounds, however, remains largely untapped. Research limitations/implications More research is needed to truly assess the potential of additive manufacturing to create entirely new sounds for musical instrument. Practical implications The application of AM in music could herald an entirely new class of musical instruments with unique sounds. Originality/value This study highlights musical instruments as an unusual application of AM. It highlights the potential of AM to create entirely new sounds, which could create a whole new class of musical instruments.

scholarly journals A survey to investigate advanced musicians’ flow disposition in individual music practice

2018 ◽  
Vol 37 (1) ◽  
pp. 107-117 ◽  
Author(s):  
Marcos V. Araújo ◽  
Christopher F. Hein
Keyword(s):  
Teaching And Learning ◽  
Task Complexity ◽  
Daily Practice ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Musical Practice ◽  
Music Practice ◽  
Loss Of Self ◽  
Practice Experience ◽  
Practice Time

This study explored advanced musicians’ dispositions to flow in musical practice. A total of 168 classically trained musicians answered a questionnaire assessing their proneness for flow experience during musical practice and associations between flow and demographic factors, practice routines and musical instruments. Dispositions to flow in musical practice did not vary across musical instrument groups, age or gender. Positive associations were found between daily practice time and flow, suggesting that flow may contribute to engagement with daily practice. Negative associations between music practice experience and loss of self-consciousness and challenge–skill balance were found, suggesting that even among experts the level of task complexity during practice may affect perceptions of competence. While six individual flow indicators were frequently experienced, three indicators were much less experienced, pointing to the existence of another similar relevant experience in the practice of expert performers, named as optimal practice experience. The article finishes with implications regarding the benefits of flow for teaching and learning practices.

scholarly journals ANALISIS KECERDASAN MUSIKAL ANAK USIA DINI DENGAN BERMAIN ALAT MUSIK ANGKLUNG DI KELOMPOK B

2021 ◽  
Vol 1 (2) ◽  
pp. 225-233
Author(s):  
Ari Patma Sari ◽  
Dwi Prasetiyawati Diyah Hariyanti ◽  
Purwadi Purwadi
Keyword(s):  
Qualitative Research ◽  
Early Childhood ◽  
Data Collection ◽  
Active Role ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Musical Intelligence ◽  
Group B ◽  
The Right ◽  
Collection Methods

Musical intelligence is musical intelligence which is characterized by a person's ability in the field of music, both sensitivity and mastery of tones, rhythms, rhythm patterns, instruments, and musical expressions, so that a person can play musical instruments or sing songs. This study aims to analyze the musical intelligence of early childhood with angklung musical instruments in Hidayatullah Islamic Kindergarten Semarang. The benefit of this research is knowing how to apply the angklung musical instrument correctly so that it can develop children's musical intelligence. The method used is descriptive qualitative research with data collection methods, namely observation, interviews, and documentation. Based on the results of research that has been done that the activity of playing angklung musical instruments can play an active role in stimulating children's musical intelligence. This can be seen when playing angklung musical instruments, children have skills in playing angklung musical instruments, the ability to adjust the tempo, adjust the tone, adjust the rhythm/rhythm, and the ability to sing short songs with the right rhythm. The results of the study showed that the musical intelligence of children in group B of Hidayatullah Islamic Kindergarten Semarang through playing the angklung musical instrument developed as expected.

scholarly journals Klasifikasi Alat Musik Tradisional Minangkabau

2019 ◽  
Vol 8 (1) ◽  
pp. 88
Author(s):  
Dian Novita Sari ◽  
Desriyeni Desriyeni
Keyword(s):  
Data Collection ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Close Attention ◽  
Descriptive Research ◽  
Lack Of Information ◽  
Data Compilation ◽  
Main Class ◽  
Decimal Classification

Abstract The writing of this paper aims to (1) find out the classification of Minangkabau traditional musical instruments; (2) knowing the process of classifying Minangkabau traditional musical instruments; (3) knowing the obstacles and efforts to overcome obstacles in the process of classifying Minangkabau traditional musical instruments. Writing this paper using descriptive research methods. Data was collected based on observations and interviews from various sources. Based on the results of the study it can be concluded as follows, first classifying the traditional Minangkabau musical instrument the first step taken is data collection and data compilation. Then classify musical instruments based on the types of musical instruments which are divided into five, namely striking, blowing, striking, picking and pressing musical instruments, but there are only four types of musical instruments in Minangkabau, namely striking, blowing, striking and picking instruments. The types of musical instruments are classified according to the guidelines on DDC (dewey decimal classification). The two processes of classifying traditional musical instruments have several parts, as follows: (1) Dewey's classification; (2) Determine the Main Class; (3) Determine Divisions; (4) Determine the Section. The three obstacles in the process of classifying traditional Minangkabau musical instruments are as follows: (1) lack of information regarding musical instruments in the Minangkabau Region including the area of origin of the musical instruments; (2) the difficulty of grouping musical instruments based on the type of musical instrument, because many names of musical instruments are almost the same. Efforts to overcome obstacles in the process of classifying Minangkabau traditional musical instruments are as follows: (1) conducting the process of collecting all data derived from several literatures and institutions that store traditional Minangkabau musical instruments; (2) pay close attention to musical instruments to be grouped according to the type of music.Keywords: classification; traditional musical instruments; minangkabau

scholarly journals MUSICALISATION OF J. BUNYAN’S AND H. SKOVORODA’S LITERARY DISCOURSE

2019 ◽  
pp. 372-384
Author(s):  
O. Shykyrynska
Keyword(s):  
Significant Influence ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Common Features ◽  
Musical Space ◽  
The Bible ◽  
Musical Theme ◽  
The World ◽  
Musical Sounds ◽  
Artistic Heritage

The article deals with the musical space of the artistic heritage of J. Bunyan and H. Skovoroda that has many common features. The general place in the heritage of both writers is reference to solemn church or angelic singing, accompanying the scenes of triumph of the heroes. There are numerous quotations from the Bible psalms, that both writers mastered perfectly. Outplaying of the mythologemes “a man as a musical instrument” and “a world as a musical instrument” became common for both authors. Musical code is expressed in comparison with man’s features and musical sounds; assimilation of the world with a musical instrument, desire to hear “the music of spheres”. The comparison of a man’s emotional impulse with the sounds of musical instruments reveals willingness of the man of the Baroque age for the search of correspondence and for the synthesis of arts in a broad sense. Music as an art differs in the ability to reveal symbols by means of a sound, having a significant influence on the recipient. The analysis of musical component of H. Skovoroda and J. Bunyan’s work demonstrates its precise orientation on musicalisation of writers’ discourse. In the meantime musical theme is represented much wider in Skovoroda’s work than in the work of the English writer. The article introduces J. Bunyan and H. Skovoroda as bright representatives of national variants of baroque aesthetics.

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