| Principles for Designing Computer Music Controllers | | BIBAK | PDF | 3-6 | |
| Perry R. Cook | |||
| This paper will present observations on the design, artistic, and human
factors of creating digital music controllers. Specific projects will be
presented, and a set of design principles will be supported from those
examples. Keywords: Musical control, artistic interfaces | |||
| A Course on Controllers | | BIBAK | PDF | 7-10 | |
| Bill Verplank | |||
| Over the last four years, we have developed a series of lectures, labs and
project assignments aimed at introducing enough technology so that students
from a mix of disciplines can design and build innovative interface devices. Keywords: Input devices, music controllers, CHI technology, courses | |||
| Problems and Prospects for Intimate Musical Control of Computers | | BIBAK | PDF | 11-14 | |
| David Wessel; Matthew Wright | |||
| In this paper we describe our efforts towards the development of live
performance computer-based musical instrumentation. Our design criteria include
initial ease of use coupled with a long term potential for virtuosity, minimal
and low variance latency, and clear and simple strategies for programming the
relationship between gesture and musical result. We present custom controllers
and unique adaptations of standard gestural interfaces, a programmable
connectivity processor, a communications protocol called Open Sound Control
(OSC), and a variety of metaphors for musical control. We further describe
applications of our technology to a variety of real musical performances and
directions for future research. Keywords: Gestural controllers, communications protocols, musical signal processing,
latency, reactive computing | |||
| Input Devices for Musical Expression: Borrowing Tools from HCI | | BIBAK | PDF | 15-18 | |
| Nicola Orio; Norbert Schnell; Marcelo M. Wanderley | |||
| This paper reviews the existing literature on input device evaluation and
design in human-computer interaction (HCI) and discusses possible applications
of this knowledge to the design and evaluation of new interfaces for musical
expression. Specifically, a set of musical tasks is suggested to allow the
evaluation of different existing controllers. Keywords: Input device design, gestural control, interactive systems | |||
| Interface: electronic chamber ensemble | | BIBAK | PDF | 19-23 | |
| Curtis Bahn; Dan Trueman | |||
| This paper presents the interface developments and music of the duo
"interface," formed by Curtis Bahn and Dan Trueman. We describe gestural
instrument design, interactive performance interfaces for improvisational
music, spherical speakers (multi-channel, outward-radiating geodesic speaker
arrays) and Sensor-Speaker-Arrays (SenSAs: combinations of various sensor
devices with spherical speaker arrays). We discuss the concept, design and
construction of these systems, and, give examples from several new published
CDs of work by Bahn and Trueman. Keywords: Interactive Music Performance, Gestural Interface, Sonic Display,
Sensor/Speaker Array, SenSA | |||
| Resonant Processing of Instrumental Sound Controller by Spatial Position | | BIBAK | PDF | 24-26 | |
| Camille Goudeseune; Guy Garnett; Timothy Johnson | |||
| We present an acoustic musical instrument played through a resonance model
of another sound. The resonance model is controlled in real time as part of the
composite instrument. Our implementation uses an electric violin, whose spatial
position modifies filter parameters of the resonance model. Simplicial
interpolation defines the mapping from spatial position to filter parameters.
With some effort, pitch tracking can also control the filter parameters. The
individual technologies -- motion tracking, pitch tracking, resonance models --
are easily adapted to other instruments. Keywords: multidimensionality, control, resonance, pitch tracking | |||
| The Accordiatron: A MIDI Controller For Interactive Music | | BIBAK | PDF | 27-29 | |
| Michael Gurevich; Stephan von Muehlen | |||
| The Accordiatron is a new MIDI controller for real-time performance based on
the paradigm of a conventional squeeze box or concertina. It translates the
gestures of a performer to the standard communication protocol of MIDI,
allowing for flexible mappings of performance data to sonic parameters. When
used in conjunction with a real-time signal processing environment, the
Accordiatron becomes an expressive, versatile musical instrument. A combination
of sensory outputs providing both discrete and continuous data gives the subtle
expressiveness and control necessary for interactive music. Keywords: MIDI controllers, computer music, interactive music, electronic musical
instruments, musical instrument design, human computer interface | |||
| Tangible Music Interfaces using Passive Magnetic Tags | | BIBAK | PDF | 30-33 | |
| Joseph A. Paradiso; Kai-yuh Hsiao; Ari Y. Benbasat | |||
| The technologies behind passive resonant magnetically-coupled tags are
introduced and their application as a musical controller is illustrated for
solo or group performances, interactive installations, and music toys. Keywords: RFID, resonant tags, EAS tags, musical controller, tangible interface | |||
| Body, Clothes, Water and Toys -- Media Towards Natural Music Expressions with Digital Sounds | | BIBAK | PDF | 34-37 | |
| Kenji Mase; Tomoko Yonezawa | |||
| In this paper, we introduce our research challenges for creating new musical
instruments using everyday-life media with intimate interfaces, such as the
self-body, clothes, water and stuffed toys. Various sensor technologies
including image processing and general touch sensitive devices are employed to
exploit these interaction media. The focus of our effort is to provide
user-friendly and enjoyable experiences for new music and sound performances.
Multimodality of musical instruments is explored in each attempt. The degree of
controllability in the performance and the richness of expressions are also
discussed for each installation. Keywords: New interface, music controller, dance, image processing, water interface,
stuffed toy | |||
| The MATRIX: A Novel Controller for Musical Expression | | BIBAK | PDF | 38-41 | |
| Dan Overholt | |||
| The MATRIX (Multipurpose Array of Tactile Rods for Interactive eXpression)
is a new musical interface for amateurs and professionals alike. It gives users
a 3-dimensional tangible interface to control music using their hands, and can
be used in conjunction with a traditional musical instrument and a microphone,
or as a stand-alone gestural input device. The surface of the MATRIX acts as a
real-time interface that can manipulate the parameters of a synthesis engine or
effect algorithm in response to a performer's expressive gestures. One example
is to have the rods of the MATRIX control the individual grains of a granular
synthesizer, thereby "sonically sculpting" the microstructure of a sound. In
this way, the MATRIX provides an intuitive method of manipulating sound with a
very high level of real-time control. Keywords: Musical controller, tangible interface, real-time expression, audio
synthesis, effects algorithms, signal processing, 3-D interface, sculptable
surface | |||
| Creating Contexts of Creativity: Musical Composition with Modular Components | | BIBA | PDF | 42-45 | |
| Gideon D'Arcangelo | |||
| This paper describes a series of projects that explore the possibilities of musical expression through the combination of pre-composed, interlocking, modular components. In particular, this paper presents a modular soundtrack recently composed by the author for "Currents of Creativity," a permanent interactive videowall installation at the Pope John Paul II Cultural Center which is slated to open Easter 2001 in Washington, DC. | |||
| New Musical Interfaces and New Music-making Paradigms | | BIBA | PDF | 46-50 | |
| Sergi Jordà | |||
| The conception and design of new musical interfaces is a multidisciplinary area that tightly relates technology and artistic creation. In this paper, the author first exposes some of the questions he has posed himself during more than a decade experience as a performer, composer, interface and software designer, and educator. Finally, he illustrates these topics with some examples of his work. | |||
| PLAY!: Sound Toys For the Non Musicians | | BIBAK | PDF | 51-53 | |
| Dominique Robson | |||
| This paper reviews a number of projects that explore building electronic
musical things, interfaces and objects designed to be used and enjoyed by
anybody but in particular those who do not see themselves as naturally musical.
On reflecting on the strengths of these projects, interesting directions for
similar work in the future are considered. Keywords: Play, exploration, sound mapping, engaging content, sound design | |||
| The Interactive Dance Club: Avoiding Chaos In A Multi Participant Environment | | BIBA | PDF | 54-56 | |
| Ryan Ulyate; David Bianciardi | |||
| In 1998 we designed enabling technology and a venue concept that allowed
several participants to influence a shared musical and visual experience. Our
primary goal was to deliver musically coherent and visually satisfying results
from several participants' input. The result, the Interactive Dance Club, ran
for four nights at the ACM SIGGRAPH 98 convention in Orlando, Florida.
In this paper we will briefly describe the Interactive Dance Club, our "10 Commandments of Interactivity", and what we learned from it's premiere at SIGGRAPH 98. | |||
| Speaking Orbs* | | BIB | - | |
| Einar Ask | |||
| 2 Hearts | | BIB | - | |
| Graeme McCaig; Sidney Fels | |||
| Musical Trinkets | | BIB | - | |
| Joseph A. Paradiso | |||
| jMax Digitizing Tablet | | BIB | - | |
| Marcelo M. Wanderley | |||
| 3D Helical Keyboard | | BIB | - | |
| Michael Cohen; Toshifumi Kanno | |||
| Accordiatron | | BIB | - | |
| Michael Gurevich | |||
| FMOL | | BIB | - | |
| Sergi Jordà | |||
| Mouthesizer | | BIB | - | |
| Michael J. Lyons | |||