New Interfaces for Musical Expression最新文献_第9页

Separating sound from source: sonic transformation of the violin through electrodynamic pickups and acoustic actuation 从音源分离声音:通过电动拾音器和声学驱动小提琴的声音转换

New Interfaces for Musical Expression Pub Date : 2019-03-21 DOI: 10.5281/zenodo.3672958

Laurel Pardue, K. Buys, Dan Overholt, Andrew Mcpherson, Mike Edinger

{"title":"Separating sound from source: sonic transformation of the violin through electrodynamic pickups and acoustic actuation","authors":"Laurel Pardue, K. Buys, Dan Overholt, Andrew Mcpherson, Mike Edinger","doi":"10.5281/zenodo.3672958","DOIUrl":"https://doi.org/10.5281/zenodo.3672958","url":null,"abstract":"When designing an augmented acoustic instrument, it is often of interest to retain an instrument’s sound quality and nuanced response while leveraging the richness of digital synthesis. Digital audio has traditionally been generated through speakers, separating sound generation from the instrument itself, or by adding an actuator within the instrument’s resonating body, imparting new sounds along with the original. We oﬀer a third option, isolating the playing interface from the actuated resonating body, allowing us to rewrite the relationship between performance action and sound result while retaining the general form and feel of the acoustic instrument. We present a hybrid acoustic-electronic violin based on a stick-body electric violin and an electrodynamic polyphonic pick-up capturing individual string displacements. A conventional violin body acts as the resonator, actuated using digitally altered audio of the string inputs. By attaching the electric violin above the body with acoustic isolation, we retain the physical playing experience of a normal violin along with some of the acoustic ﬁltering and radiation of a traditional build. We propose the use of the hybrid instrument with digitally automated pitch and tone correction to make an easy violin for use as a potential motivational tool for beginning violinists.","PeriodicalId":161317,"journal":{"name":"New Interfaces for Musical Expression","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115308502","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 9

Live Repurposing of Sounds: MIR Explorations with Personal and Crowdsourced Databases 现场重新利用声音:MIR探索与个人和众包数据库

New Interfaces for Musical Expression Pub Date : 2018-06-18 DOI: 10.5281/zenodo.1302625

Anna Xambó, Gerard Roma, Alexander Lerch, M. Barthet, György Fazekas

引用次数: 13

All the Noises: Hijacking Listening Machines for Performative Research 所有的噪音:劫持听觉机器进行表演研究

New Interfaces for Musical Expression Pub Date : 2018-06-18 DOI: 10.5281/zenodo.1302699

J. Bowers, Owen Green

{"title":"All the Noises: Hijacking Listening Machines for Performative Research","authors":"J. Bowers, Owen Green","doi":"10.5281/zenodo.1302699","DOIUrl":"https://doi.org/10.5281/zenodo.1302699","url":null,"abstract":"Research into machine listening has intensified in recent years creating a variety of techniques for recognising musical features suitable, for example, in musicological analysis or commercial application in song recognition. Within NIME, several projects exist seeking to make these techniques useful in real-time music making. However, we debate whether the functionally-oriented approaches inherited from engineering domains that much machine listening research manifests is fully suited to the exploratory, divergent, boundary-stretching, uncertainty-seeking, playful and irreverent orientations of many artists. To explore this, we engaged in a concerted collaborative design exercise in which many different listening algorithms were implemented and presented with input which challenged their customary range of application and the implicit norms of musicality which research can take for granted. An immersive 3D spatialised multichannel environment was created in which the algorithms could be explored in a hybrid installation/performance/lecture form of research presentation. The paper closes with reflections on the creative value of ‘hijacking’ formal approaches into deviant contexts, the typically undocumented practical know-how required to make algorithms work, the productivity of a playfully irreverent relationship between engineering and artistic approaches to NIME, and a sketch of a sonocybernetic aesthetics for our work.","PeriodicalId":161317,"journal":{"name":"New Interfaces for Musical Expression","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126719525","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 4

Aphysical Unmodeling Instrument: Sound Installation that Re-Physicalizes a Meta-Wind-Instrument Physical Model, Whirlwind 物理非建模乐器:重新物理化元乐器物理模型的声音装置，Whirlwind

New Interfaces for Musical Expression Pub Date : 2018-06-07 DOI: 10.5281/zenodo.1302663

Tomoya Matsuura, Kazuhiro Jo

引用次数: 0

Co-Tuning Virtual-Acoustic Performance Ecosystems: observations on the development of skill and style in the study of musician-instrument relationships 共调虚拟声学表演生态系统:在研究乐器关系中对技巧和风格发展的观察

New Interfaces for Musical Expression Pub Date : 2018-06-03 DOI: 10.5281/zenodo.1302593

P. Stapleton, M. V. Walstijn, Sandor Mehes

{"title":"Co-Tuning Virtual-Acoustic Performance Ecosystems: observations on the development of skill and style in the study of musician-instrument relationships","authors":"P. Stapleton, M. V. Walstijn, Sandor Mehes","doi":"10.5281/zenodo.1302593","DOIUrl":"https://doi.org/10.5281/zenodo.1302593","url":null,"abstract":"In this paper we report preliminary observations from an ongoing study into how musicians explore and adapt to the parameter space of a virtual-acoustic string bridge plate instrument. These observations inform (and are informed by) a wider approach to understanding the development of skill and style in interactions between musicians and musical instruments. We discuss a performance-driven ecosystemic approach to studying musical relationships, drawing on arguments from the literature which emphasise the need to go beyond simplistic notions of control and usability when assessing exploratory and performatory musical interactions. Lastly, we focus on processes of perceptual learning and co-tuning between musician and instrument, and how these activities may contribute to the emergence of personal style as a hallmark of skilful music-making. ABSTRACT This paper provides a sample of a L A TEX document for the NIME conference series. It conforms, somewhat loosely, to the formatting guidelines for ACM SIG Proceedings. It is an alternate style which produces a tighter-looking paper and was designed in response to concerns expressed, by authors, over page-budgets. It complements the document Author’s (Alternate) Guide to Preparing ACM SIG Proceedings Us- ing L A TEX 2 ✏ and BibTEX . This source ﬁle has been written with the intention of being compiled under L A TEX2 ✏ and BibTeX.Tomake best use of this sample document, run it through L A TEX and BibTeX, and compare this source code with your compiled PDF ﬁle. A compiled PDF version is available to help you with the ‘look and feel.’ The paper submit- ted to the NIME conference must be stored in an A4-sized PDF ﬁle, so North Americans should take care not to inadvertently generate letter paper-sized PDF ﬁles. This paper template should prevent that from happening if the pdflatex program is used to generate the PDF ﬁle. The abstract should preferably be between 100 and 200 words.","PeriodicalId":161317,"journal":{"name":"New Interfaces for Musical Expression","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126616644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 6

The Phone with the Flow: Combining Touch + Optical Flow in Mobile Instruments 流动的手机:触摸+光流在移动仪器中的结合

New Interfaces for Musical Expression Pub Date : 2018-06-03 DOI: 10.5281/zenodo.1302709

Cagan Arslan, Florent Berthaut, J. Martinet, Ioan Marius Bilasco, L. Grisoni

引用次数: 1

CTRL: A Flexible, Precision Interface for Analog Synthesis CTRL:一个灵活、精确的模拟合成接口

New Interfaces for Musical Expression Pub Date : 2018-06-03 DOI: 10.5281/zenodo.1302563

J. Harding, R. Graham, E. Park

引用次数: 0

Myo Mapper: a Myo armband to OSC mapper Myo映射器:一个Myo袖标到OSC映射器

New Interfaces for Musical Expression Pub Date : 2018-06-03 DOI: 10.5281/zenodo.1302705

Balandino Di Donato, J. Bullock, Atau Tanaka

引用次数: 11

Crafting Digital Musical Instruments: An Exploratory Workshop Study 制作数位乐器:一项探索性工作坊研究

New Interfaces for Musical Expression Pub Date : 2018-06-03 DOI: 10.5281/zenodo.1302583

Jack Armitage, Andrew Mcpherson

{"title":"Crafting Digital Musical Instruments: An Exploratory Workshop Study","authors":"Jack Armitage, Andrew Mcpherson","doi":"10.5281/zenodo.1302583","DOIUrl":"https://doi.org/10.5281/zenodo.1302583","url":null,"abstract":"In digital musical instrument design, di ﬀ erent tools and methods o ﬀ er a variety of approaches for constraining the exploration of musical gestures and sounds. Toolkits made of modular components usefully constrain exploration towards simple, quick and functional combinations, and meth-ods such as sketching and model-making alternatively allow imagination and narrative to guide exploration. In this work we sought to investigate a context where these approaches to exploration were combined. We designed a craft work-shop for 20 musical instrument designers, where groups were given the same partly-ﬁnished instrument to craft for one hour with raw materials, and though the task was open ended, they were prompted to focus on subtle details that might distinguish their instruments. Despite the prompt the groups diverged dramatically in intent and style, and generated gestural language rapidly and ﬂexibly. By the end, each group had developed a distinctive approach to constraint, exploratory style, collaboration and interpretation of the instrument and workshop materials. We reﬂect on this outcome to discuss advantages and disadvantages to integrating digital musical instrument design tools and methods, and how to further investigate and extend this approach.","PeriodicalId":161317,"journal":{"name":"New Interfaces for Musical Expression","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129595025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 9

Risky business: Disfluency as a design strategy 有风险的业务:不流畅作为一种设计策略

New Interfaces for Musical Expression Pub Date : 2018-06-02 DOI: 10.5281/zenodo.1302675

S. Bin, N. Bryan-Kinns, Ap Mcpherson

{"title":"Risky business: Disfluency as a design strategy","authors":"S. Bin, N. Bryan-Kinns, Ap Mcpherson","doi":"10.5281/zenodo.1302675","DOIUrl":"https://doi.org/10.5281/zenodo.1302675","url":null,"abstract":"This paper presents a study examining the effects of disfluent design on audience perception of digital musical instrument (DMI) performance. Disfluency, defined as a barrier to effortless cognitive processing, has been shown to generate better results in some contexts as it engages higher levels of cognition. We were motivated to determine if disfluent design in a DMI would result in a risk state that audiences would be able to perceive, and if this would have any effect on their evaluation of the performance. A DMI was produced that incorporated a disfluent characteristic: It would turn itself off if not constantly moved. Six physically identical instruments were produced, each in one of three versions: Control (no disfluent characteristics), mild disfluency (turned itself off slowly), and heightened disfluency (turned itself off more quickly). 6 percussionists each performed on one instrument for a live audience (N=31), and data was collected in the form of real-time feedback (via a mobile phone app), and post-hoc surveys. Though there was little difference in ratings of enjoyment between the versions of the instrument, the real-time and qualitative data suggest that disfluent behaviour in a DMI may be a way for audiences to perceive and appreciate performer skill.","PeriodicalId":161317,"journal":{"name":"New Interfaces for Musical Expression","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114172010","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 3