An Overview of Immersive Virtual Reality Music Experiences in Online Platforms

As the field of Virtual Reality (VR) continues to mature, so too does the potential for creative and immersive musical experiences in the medium. However, of the thousands of applications now available across the major VR platforms, only a small number of titles focus on the ability to create or explore musical content. This article outlines the current state of music games, experiences, and creative applications across the current VR ecosystem. Firstly, it surveys the quantity of commercial titles currently available across the major VR platforms with a music-related focus. Secondly, the article classifies music applications into the following subcategories: music creation and creative arranging, rhythm games, music video experiences, and music performance activities. Finally, it provides an overview of the key musical applications in each category that can assist and inspire musicians, technicians, and educators in their creative musical endeavors

The acoustic, the digital and the body: a survey on musical instruments

This paper reports on a survey conducted in the autumn of 2006 with the objective to understand people's relationship to their musical tools. The survey focused on the question of embodiment and its different modalities in the fields of acoustic and digital instruments. The questions of control, instrumental entropy, limitations and creativity were addressed in relation to people's activities of playing, creating or modifying their instruments. The approach used in the survey was phenomenological, i.e. we were concerned with the experience of playing, composing for and designing digital or acoustic instruments. At the time of analysis, we had 209 replies from musicians, composers, engineers, designers, artists and others interested in this topic. The survey was mainly aimed at instrumentalists and people who create their own instruments or compositions in flexible audio programming environments such as SuperCollider, Pure Data, ChucK, Max/MSP, CSound, etc

Interaction Design for Digital Musical Instruments

The thesis aims to elucidate the process of designing interactive systems for musical performance that combine software and hardware in an intuitive and elegant fashion. The original contribution to knowledge consists of: (1) a critical assessment of recent trends in digital musical instrument design, (2) a descriptive model of interaction design for the digital musician and (3) a highly customisable multi-touch performance system that was designed in accordance with the model. Digital musical instruments are composed of a separate control interface and a sound generation system that exchange information. When designing the way in which a digital musical instrument responds to the actions of a performer, we are creating a layer of interactive behaviour that is abstracted from the physical controls. Often, the structure of this layer depends heavily upon: 1. The accepted design conventions of the hardware in use 2. Established musical systems, acoustic or digital 3. The physical configuration of the hardware devices and the grouping of controls that such configuration suggests This thesis proposes an alternate way to approach the design of digital musical instrument behaviour – examining the implicit characteristics of its composite devices. When we separate the conversational ability of a particular sensor type from its hardware body, we can look in a new way at the actual communication tools at the heart of the device. We can subsequently combine these separate pieces using a series of generic interaction strategies in order to create rich interactive experiences that are not immediately obvious or directly inspired by the physical properties of the hardware. This research ultimately aims to enhance and clarify the existing toolkit of interaction design for the digital musician

"Knowing is Seeing:" The Digital Audio Workstation and the Visualization of Sound

The computers visual representation of sound has revolutionized the creation of music through the interface of the Digital Audio Workstation software (DAW). With the rise of DAW-based composition in popular music styles, many artists sole experience of musical creation is through the computer screen. I assert that the particular sonic visualizations of the DAW propagate certain assumptions about music, influencing aesthetics and adding new visually-based parameters to the creative process. I believe many of these new parameters are greatly indebted to the visual structures, interactional dictates and standardizations (such as the office metaphor depicted by operating systems such as Apples OS and Microsofts Windows) of the Graphical User Interface (GUI). Whether manipulating text, video or audio, a users interaction with the GUI is usually structured in the same mannerclicking on windows, icons and menus with a mouse-driven cursor. Focussing on the dialogs from the Reddit communities of Making hip-hop and EDM production, DAW user manuals, as well as interface design guidebooks, this dissertation will address the ways these visualizations and methods of working affect the workflow, composition style and musical conceptions of DAW-based producers

Being sound: FLOSS, flow and event in the composition and ensemble performance of free open computer music

This commentary describes my recent approach to writing compositions for the ensemble performance of computer music. Drawing on experimental music and improvisation, I contend that such music is best considered in terms of people’s situated and relational interplay. The compositional and performative question that permeates this thesis is ‘what can we do, in this time and space, with these tools available to us?’. As themes of equality and egalitarian access underpin this work throughout, I highlight my engagement with Free Libre Open Source Software (FLOSS) ideology and community, reflecting on how this achieves my aims. I describe my writing of text score compositions, making use of the term bounded improvisation, whose purposeful requirements for indeterminate realisation extends most current computer-based performance practice. Though no single strand of this research is perhaps unusual by itself, such an assemblage as that outlined above (incorporating composition, computer coding and ensemble performance practice) is, when allied to an understanding of electronic and computer music praxis, currently an underdeveloped approach. Such an approach I have thus chosen to term free open computer music. I incorporate two further pre-existing conceptual formulations to present a framework for constructing, reflecting on, and developing my work in this field. Firstly flow or 'immersed experience' is useful to explicate difficult to capture aspects of instrumental engagement and ensemble performance. Secondly, this portfolio of scores aims to produce well-constructed situations, facilitating spaces of flow which contain within their environments the opportunity for an event to take place. I present the outcomes of my practice as place-forming tactics that catalyse something to do, but not what to do, in performative spaces such as those described above. Such intentions define my aims for composition. These theoretical concerns, together with an allied consideration of the underpinning themes highlighted above, is a useful framework for refection and evaluation of this work

Suitably underspecified: systematic notations and the relations between paper and music

Through building a taxonomy of drawing, and a set of four drawing research studies aimed at generating innovative cross-disciplinary practices, an argument will be developed that systematised drawings such as the music notation are hybrid representational environments, sufficiently different from other inscriptive practices as to merit a separate classification. The taxonomical model will decentralise specific modes of drawing, in favour of a multi-disciplinary view appropriate to the persistence of its subject as a deeply rooted strategic and executive practice, and the four studies will engage the time-factoring of notation systems as transductive environments, setting the conditions for innovative practices both in and outside of the frame of the inscription

Computer Mediated Music Production: a Study of Abstraction and Activity

Human Computer Interaction research has a unique challenge in understanding the activity systems of creative professionals, and designing the user-interfaces to support their work. In these activities, the user is involved in the process of building and editing complex digital artefacts through a process of continued refinement, as is seen in computer aided architecture, design, animation, movie-making, 3D modelling, interactive media (such as shockwave-flash), as well as audio and music production. This thesis examines the ways in which abstraction mechanisms present in music production systems interplay with producers' activity through a collective case study of seventeen professional producers. From the basis of detailed observations and interviews we examine common abstractions provided by the ubiquitous multitrack-mixing metaphor and present design implications for future systems

Supporting virtuosity and flow in computer music

As we begin to realise the sonic and expressive potential of the computer, HCI researchers face the challenge of designing rewarding and accessible user experiences that enable individuals to explore complex creative domains such as music. In performance-based music systems such as sequencers, a disjunction exists between the musician’s specialist skill with performance hardware and the generic usability techniques applied in the design of the software. The creative process is not only fragmented across multiple physical (and virtual) devices, but divided across creativity and productivity phases separated by the act of recording. Integrating psychologies of expertise and intrinsic motivation, this thesis proposes a design shift from usability to virtuosity, using theories of “flow” (Csikszentmihalyi, 1996) and feedback “liveness” (Tanimoto, 1990) to identify factors that facilitate learning and creativity in digital notations and interfaces, leading to a set of design heuristics to support virtuosity in notation use. Using the cognitive dimensions of notations framework (Green, 1996), models of the creative user experience are developed, working towards a theoretical framework for HCI in music systems, and specifically computer-aided composition. Extensive analytical methods are used to look at corollaries of virtuosity and flow in real-world computer music interaction, notably in soundtracking, a software-based composing environment offering a rapid edit-audition feedback cycle, enabled by the user’s skill in manipulating the text-based notation (and program) through the computer keyboard. The interaction and development of more than 1,000 sequencer and tracker users was recorded over a period of 2 years, to investigate the nature and development of skill and technique, look for evidence of flow experiences, and establish the use and role of both visual and musical feedback in music software. Quantitative analyses of interaction data are supplemented with a detailed video study of a professional tracker composer, and a user survey that draws on psychometric methods to evaluate flow experiences in the use of digital music notations, such as sequencers and trackers. Empirical findings broadly support the proposed design heuristics, and enable the development of further models of liveness and flow in notation use. Implications for UI design are discussed in the context of existing music systems, and supporting digitally-mediated creativity in other domains based on notation use