Musical applications of Physical Computing (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.

Physical interaction design for music

2003

Abstract Teaching physical interaction design for music combines aspects of embedded systems, sensors, electronics, sound synthesis, design and HCI. CCRMA's courses in this area draw students with a variety of backgrounds in these fields, and expose them to aspects of each. Students learn about technology and design theory, from the instructors and from each other.

Noisebox: Design and Prototype of a New Digital Musical Instrument

This paper documents the initial prototyping of a new digital musical instrument. Specifically, it focuses on design of the interface, and contextualizes the project through some of the existing research in the field of gestural control of new musical instruments. The project began with a concept for a stand-alone hand-held polyphonic synthesizer called the Noisebox (Figure 1). Several key concepts and strategies were explored and implemented during its development, including: analysis and application of gesture in musical performance, choice of sensors and sensor conditioning, appropriate mapping strategies , and evaluation of user experience. The outcome yielded a functional prototype that fulfilled the initial goal of the project to design and build a working instrument from start to finish. The stage documented here represents the first phase of a longer project. Future phases will conduct user tests to measure the success of the instrument based on performer feedback and refine the design through multiple iterations, leading to a finished instrument.

Digital Music Instruments and Sound Expression

Proceedings of the 2007 International Computer Music Conference, ICMC 2007, Copenhagen, Denmark, August 27-31, 2007. Michigan Publishing 2007, 2007

The main goal of this paper is to describe certain aspects of the construction of a prototype, while introducing generally some of the key issues resulting of the design of its interface. The word LeinKlang (from the German) means sound (Klang) screen (Leinwand). This project consists in the construction of a digital music instrument. Physically, it appears as a screen, against which users interact, by shadow or video projection, and behind it, intentionally out of view, a set of 24 small loudspeakers. Keywords – Multimedia and AudioVisual Creation, Interface Design, Perception, Sound and Visualization.

The Design of Tangible Digital Musical Instruments

2020

Here we present guidelines that highlight the impact of haptic feedback upon the experiences of computer musicians using Digital Musical Instruments (DMIs). In this context, haptic feedback offers a tangible, bi-directional exchange between a musician and a DMI. We propose that by adhering to and exploring these guidelines the application of haptic feedback can enhance and augment the physical and affective experiences of a musician in interactions with these devices. It has been previously indicated that in the design of haptic DMIs, the experiences and expectations of a musician must be considered for the creation of tangible DMIs and that haptic feedback can be used to address the physical-digital divide that currently exists between users of such instruments.