Digital Music Instruments and Sound Expression (original) (raw)

Design and Use of Some New Digital Musical Instruments

2003

This article presents some facts about the use of gesture in computer music, more specifically in home made instruments dedicated to performance on stage. We first give some theoretical and practical ideas to design an instrument, in the following areas: the sound, the gesture and the mapping. Then, we introduce three examples of digital instruments we have created, focusing on their design and their musical use.

New Tendencies In The Digital Music Instrument Design: Progress Report

Proceedings of the SMC Conferences, 2009

The group activity is focused on the development and design of computer-controlled instruments-digital music instruments [5]. We will describe three digital music instruments, havedeveloped at the Computer Studio. These instruments are mostly unified by the idea of human gesture and human interaction using new technologies to control the interaction processes. At the same time they were built upon the consciousness of musical tradition taking a fresh approach on everyday objects.

Musical Instruments in the 21st Century

2017

This chapter explores the role of visual representation of sound in music software. Software design often remediates older technologies, such as common music notation, the analogue tape, outboard studio equipment, as well as applying metaphors from acoustic and electric instruments. In that context, the aim here will be study particular modes in which abstract shapes, symbols and innovative notations can be applied in systems for composition and live performance. Considering the practically infinite possibilities of representation of sound in digital systems-both in terms of visual display and mapping of gestural controllers to sound-the concepts of graphic design, notation and performance will be discussed in relation to four systems created by the author: ixi software, ixiQuarks, ixi lang, and the Threnoscope live coding environment. These will be presented as examples of limited systems that frame the musician's compositional thoughts providing a constrained palette of musical possibilities. What this software has in common is the integral use of visual elements in musical composition, equally as prescriptive and representative notation for musical processes. The chapter will present the development of musical software as a form of composition: it is an experimental activity that goes hand in hand with sound and music research, where the musician-programmer has to gain a formal understanding of diverse domains that before might have been tacit knowledge. The digital system's requirements for abstractions of the source domain, specifications of material, and completeness of definitions are all features that inevitably require a very strong understanding of the source domain.

Form and function: examples of music interface design

Proceedings of the 24th BCS Interaction Specialist …, 2010

This paper presents observations on the creation of digital music controllers and the music that they generate from the perspectives of the designer and the artist. In the case of musical instruments, what is the role of the form (the hardware) where it concerns the function (the production of musically interesting sounds)? Specific projects are presented, and a set of operational principles is supported from those examples. The associated encounter session will allow delegates to experiment with the interfaces exhibited, further informing these principles.

Interfacing Sound: Visual Representation of Sound in Musical Software Instruments

Musical Instruments in the 21st Century, 2016

This chapter explores the role of visual representation of sound in music software. Software design often remediates older technologies, such as common music notation, the analogue tape, outboard studio equipment, as well as applying metaphors from acoustic and electric instruments. In that context, the aim here will be study particular modes in which abstract shapes, symbols and innovative notations can be applied in systems for composition and live performance. Considering the practically infinite possibilities of representation of sound in digital systems-both in terms of visual display and mapping of gestural controllers to sound-the concepts of graphic design, notation and performance will be discussed in relation to four systems created by the author: ixi software, ixiQuarks, ixi lang, and the Threnoscope live coding environment. These will be presented as examples of limited systems that frame the musician's compositional thoughts providing a constrained palette of musical possibilities. What this software has in common is the integral use of visual elements in musical composition, equally as prescriptive and representative notation for musical processes. The chapter will present the development of musical software as a form of composition: it is an experimental activity that goes hand in hand with sound and music research, where the musician-programmer has to gain a formal understanding of diverse domains that before might have been tacit knowledge. The digital system's requirements for abstractions of the source domain, specifications of material, and completeness of definitions are all features that inevitably require a very strong understanding of the source domain.

Design principles and user interfaces of Erkki Kurenniemi's electronic musical instruments of the 1960's and 1970's

Proceedings of the 7th international conference on New interfaces for musical expression - NIME '07, 2007

This paper presents a line of historic electronic musical instruments designed by Erkki Kurenniemi in the 1960's and 1970's. Kurenniemi's instruments were influenced by digital logic and an experimental attitude towards user interface design. The paper presents an overview of Kurenniemi's instruments and a detailed description of selected devices. Emphasis is put on user interface issues such as unconventional interactive real-time control and programming methods.

Towards a new conceptual framework for digital musical instruments

Proceedings of the 9th …, 2006

This paper describes the adaptation of an existing model of hu- man information processing for the categorization of digital musi- cal instruments in terms of performance context and behavior. It further presents a visualization intended to aid the analysis of ex- isting DMIs and the design of new devices. Three new interfaces constructed by the authors are examined within this