Paradigms for the High-Level Musical Control of Digital Signal Processing (original) (raw)

Principles for designing computer music controllers

Proceedings of the 2001 conference on New interfaces …

INTRODUCTION Musical performance with entirely new types of computer instruments is now commonplace, as a result of the availability of inexpensive computing hardware, of new sensors for measuring physical parameters such as force and position, and of new software for ...

Real-Time Interactive Digital Signal Processing: A View of Computer Music

when i was approached to write a short article for the twentieth anniversary of the Computer Music Journal, i re-read volume 15, number 4, a CMJ issue dedicated to “Dream Machines for Computer Music”...it is a fascinating issue, published five years ago, yet it does not in the least seem dated today...if technology is advancing as rapidly as the media would have us believe, then should not some of our dreams be a reality?...men went to the moon almost 30 years ago (nevermind the reasons) yet what has happened to all our fantasies of space exploration since then?...is the computer music field moving forward as it should, or are we as dependent on market forces as the space “race” was dependent on political forces?...

A look at the design and creation of a graphically controlled digital musical instrument

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

In this article we want to show how graphical languages can be used successfully for monitoring and controlling a digital musical instrument. An overview of the design and development stages of this instrument shows how we can create models which will simplify the control and use of different kinds of musical algorithms for synthesis and sequencing.

A composer's introduction to computer music∗

Interface, 1977

A historical survey of computer music ij presented. As the title suggests, this survey is written for the composer, in oider t.ofacilitate his access to the tools currentry offered by technology. Approaches both to computer composition and to sound synthesis tech':1ique!f are considered. These are discussed in terms of their music-theoretical implications, modes of man-machine communication, and hardware configurations. Under computer composition, the various degrees to which a digital computer can participate in the compositional process are discussed. As regards sound synthesis, both digital and hybrid techniques arẽ onsidered. Throughout, the presentation is based on a discussion of specific systems, which provide a historical review of the field. In addition, extensive references are made to the existing literature, in order to direct the reader to additional information.

pDM: An Expressive Sequencer with Real-Time Control of the KTH Music-Performance Rules

Computer Music Journal, 2006

Experimental research in music performance is now an established field with a number of interesting advances relating to the understanding of the musical communication between performer and listener . Research in this field includes the communication of structure , emotional expression (Juslin 2001), and musicians' body gestures . From this research, it is evident that the performer has an important and essential role "giving life" to a composition by introducing gestural qualities, enhancing the musical structure, and providing a personal interpretation reflecting an expressive intention. For example, studies of emotional expression have shown that the same piece can communicate completely different emotions by changing the performance.

Remutualizing the Musical Instrument: Co-Design of Synthesis Algorithms and Controllers

Journal of New Music Research, 2004

From the advent of electronic music, and even from early organ consoles and other remote manipulated instruments, much of the design and research of new musical interfaces has focused on abstracting (both physically and in the design process) the "controller" from the "synthesizer" and then investigating how to best interface those two classes of hardware with each other and the player. Yet, many of the striking lessons from our history of intimate expressive musical instruments lie in the blurred boundaries between player, controller, and sound producing object. Bowed strings, winds, and certainly the human voice all blur these boundaries, both in the design and construction of the "instrument" and in the resulting controls and expressions. This article looks at some of the issues involved with creating new expressive electronic musical instruments, and presents an overview of a number of recent projects in the co-design of musical controllers and computer sound synthesis algorithms. Specific cases are described where the traditional engineering approach of building a controller (a box), and connecting it to a synthesizer (another box) would never have yielded the final product that resulted from the tightly coupled development of a complete musical system all at the same time. Examples are given of where a discovery from synthesis algorithm development suggested a new control metaphor, and where a control component suggested a new aspect of synthesis.