400 research outputs found
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Understanding Music Interaction, and Why It Matters
This is the introductory chapter of a book dedicated to new research in, and emerging new understandings of, music and human-computer interactionâknown for short as music interaction. Music interaction research plays a key role in innovative approaches to diverse musical activities, including performance, composition, education, analysis, production and collaborative music making. Music interaction is pivotal in new research directions in a range of activities, including audience participation, interaction between music and dancers, tools for algorithmic music, music video games, audio games, turntablism and live coding. More generally, music provides a powerful source of challenges and new ideas for human-computer interaction (HCI). This introductory chapter reviews the relationship between music and human-computer interaction and outlines research themes and issues that emerge from the collected work of researchers and practitioners in this book
Apps, Agents, and Improvisation: Ensemble Interaction with Touch-Screen Digital Musical Instruments
This thesis concerns the making and performing of music with new
digital musical instruments (DMIs) designed for ensemble
performance. While computer music has advanced to the point where
a huge variety of digital instruments are common in educational,
recreational, and professional music-making, these instruments
rarely seek to enhance the ensemble context in which they are
used. Interaction models that map individual gestures to sound
have been previously studied, but the interactions of ensembles
within these models are not well understood. In this research,
new ensemble-focussed instruments have been designed and deployed
in an ongoing artistic practice. These instruments have also been
evaluated to find out whether, and if so how, they affect the
ensembles and music that is made with them.
Throughout this thesis, six ensemble-focussed DMIs are introduced
for mobile touch-screen computers. A series of improvised
rehearsals and performances leads to the identification of a
vocabulary of continuous performative touch-gestures and a system
for tracking these collaborative performances in real time using
tools from machine learning. The tracking system is posed as an
intelligent agent that can continually analyse the gestural
states of performers, and trigger a response in the performers'
user interfaces at appropriate moments. The hypothesis is that
the agent interaction and UI response can enhance improvised
performances, allowing performers to better explore creative
interactions with each other, produce better music, and have a
more enjoyable experience.
Two formal studies are described where participants rate their
perceptions of improvised performances with a variety of designs
for agent-app interaction. The first, with three expert
performers, informed refinements for a set of apps. The most
successful interface was redesigned and investigated further in a
second study with 16 non-expert participants. In the final
interface, each performer freely improvised with a limited number
of notes; at moments of peak gestural change, the agent presented
users with the opportunity to try different notes. This interface
is shown to produce performances that are longer, as well as
demonstrate improved perceptions of musical structure, group
interaction, enjoyment and overall quality.
Overall, this research examined ensemble DMI performance in
unprecedented scope and detail, with more than 150 interaction
sessions recorded. Informed by the results of lab and field
studies using quantitative and qualitative methods, four
generations of ensemble-focussed interface have been developed
and refined. The results of the most recent studies assure us
that the intelligent agent interaction does enhance improvised
performances
Rethinking Interaction: Identity and Agency in the Performance of âInteractiveâ Electronic Music
This document investigates interaction between human performers and various interactive technologies in the performance of interactive electronic and computer music. Specifically, it observes how the identity and agency of the interactive technology is experienced and perceived by the human performer. First, a close examination of George Lewisâ creation of and performance with his own historic interactive electronic and computer works reveals his disposition of interaction as improvisation. This disposition is contextualized within then contemporary social and political issues related to African American experimental musicians as well as an emerging culture of electronic and computer musicians concerned with interactivity. Second, an auto-ethnographic study reveals a contemporary performers perspective via the authorâs own direct interactive experience with electronic and computer systems. These experiences were documented and analyzed using Actor Network Theory, Critical Technical Practice, theories of Embodiment and Embodied Cognition, Lewisâs conceptions of improvisation, as well as Tracy McMullenâs theory of the Improvisative. Analyses from both studies revealed that when and how performers chose to âotherâ interactive technologies significantly influenced their actions. The implications of this are discussed in terms of identity formation both within performances of interactive electronic music and interactive technologies generally
Clasp together: composing for mind and machine
This paper will explore questions of agency, control and interaction and the embodied nature of musical performance in relation to the use of human-computer interaction (HCI), through the experimental work Clasp Together (beta) 2 for small ensemble and live electronics by J. Harry Whalley. This practice-led research is situated at the intersection of music neurotechnology for sound synthesis and brain-computer interfaces (BCI), and explores the use of neural patterns from Electroencephalography (EEG) as a control instrument. The composition departed from the traditional composer/performer paradigm by including both non-instrumental physical gestures and cognitive or emotive instructions integrated into the score
Implementation and development of interfaces for music performance through analysis of improvised dance movements
Electronic music, even when designed to be interactive, can lack performance interest and is frequently musically unsophisticated. This is unfortunate because there are many aspects of electronic music that can be interesting, elegant, demonstrative and musically informative. The use of dancers to interact with prototypical interfaces comprising clusters of sensors generating music algorithmically provides a method of investigating human actions in this environment. This is achieved through collaborative work involving software and hardware designers, composers, sculptors and choreographers who examine aesthetically and practically the interstices of these disciplines. The proposed paper investigates these interstices
Interactive Sound in Performance Ecologies: Studying Connections among Actors and Artifacts
This thesisâs primary goal is to investigate performance ecologies, that is the compound
of humans, artifacts and environmental elements that contribute to the result of a per-
formance. In particular, this thesis focuses on designing new interactive technologies for
sound and music. The goal of this thesis leads to the following Research Questions (RQs):
âą RQ1 How can the design of interactive sonic artifacts support a joint expression
across different actors (composers, choreographers, and performers, musicians, and
dancers) in a given performance ecology?
âą RQ2 How does each different actor influence the design of different artifacts, and
what impact does this have on the overall artwork?
âą RQ3 How do the different actors in the same ecology interact, and appropriate an
interactive artifact?
To reply to these questions, a new framework named ARCAA has been created. In this
framework, all the Actors of a given ecology are connected to all the Artifacts throughout
three layers: Role, Context and Activity. This framework is then applied to one systematic
literature review, two case studies on music performance and one case study in dance
performance. The studies help to better understand the shaded roles of composers, per-
formers, instrumentalists, dancers, and choreographers, which is relevant to better design
interactive technologies for performances. Finally, this thesis proposes a new reflection on
the blurred distinction between composing and designing a new instrument in a context
that involves a multitude of actors.
Overall, this work introduces the following contributions to the field of interaction
design applied to music technology: 1) ARCAA, a framework to analyse the set of inter-
connected relationship in interactive (music) performances, validated through 2 music
studies, 1 dance study and 1 systematic literature analysis; 2) Recommendations for de-
signing music interactive system for performance (music or dance), accounting for the
needs of the various actors and for the overlapping on music composition and design of in-
teractive technology; 3) A taxonomy of how scores have shaped performance ecologies in NIME, based on a systematic analysis of the literature on score in the NIME proceedings;
4) Proposal of a methodological approach combining autobiographical and idiographical
design approaches in interactive performances.O objetivo principal desta tese Ă© investigar as ecologias performativas, conjunto formado
pelos participantes humanos, artefatos e elementos ambientais que contribuem para o
resultado de uma performance. Em particular, esta tese foca-se na conceção de novas
tecnologias interativas para som e mĂșsica. O objetivo desta tese originou as seguintes
questÔes de investigação (Research Questions RQs):
âą RQ1 Como o design de artefatos sonoros interativos pode apoiar a expressĂŁo con-
junta entre diferentes atores (compositores, coreĂłgrafos e performers, mĂșsicos e
dançarinos) numa determinada ecologia performativa?
âą RQ2 Como cada ator influencia o design de diferentes artefatos e que impacto isso
tem no trabalho artĂstico global?
âą RQ3 Como os diferentes atores de uma mesma ecologia interagem e se apropriam
de um artefato interativo?
Para responder a essas perguntas, foi criado uma nova framework chamada ARCAA.
Nesta framework, todos os atores (Actores) de uma dada ecologia estĂŁo conectados a todos
os artefatos (Artefacts) atravĂ©s de trĂȘs camadas: Role, Context e Activity. Esta framework
foi entĂŁo aplicada a uma revisĂŁo sistemĂĄtica da literatura, a dois estudos de caso sobre
performance musical e a um estudo de caso em performance de dança. Estes estudos aju-
daram a comprender melhor os papéis desempenhados pelos compositores, intérpretes,
instrumentistas, dançarinos e coreógrafos, o que é relevante para melhor projetar as tec-
nologias interativas para performances. Por fim, esta tese propÔe uma nova reflexão sobre
a distinção entre compor e projetar um novo instrumento num contexto que envolve uma
multiplicidade de atores.
Este trabalho apresenta as seguintes contribuiçÔes principais para o campo do design
de interação aplicado à tecnologia musical: 1) ARCAA, uma framework para analisar o
conjunto de relaçÔes interconectadas em performances interativas, validado através de
dois estudos de caso relacionados com a mĂșsica, um estudo de caso relacionado com
a dança e uma anĂĄlise sistemĂĄtica da literatura; 2) RecomendaçÔes para o design de sistemas interativos musicais para performance (mĂșsica ou dança), tendo em conta as
necessidades dos vårios atores e a sobreposição entre a composição musical e o design de
tecnologia interactiva; 3) Uma taxonomia sobre como as partituras musicais moldaram
as ecologias performativas no NIME, com base numa anĂĄlise sistemĂĄtica da literatura
dos artigos apresentados e publicados nestas conferĂȘncia; 4) Proposta de uma aborda-
gem metodolĂłgica combinando abordagens de design autobiogrĂĄfico e idiogrĂĄfico em
performances interativas
Soma: live performance where congruent musical, visual, and proprioceptive stimuli fuse to form a combined aesthetic narrative
Artists and scientists have long had an interest in the relationship between music and visual art. Today, many occupy themselves with correlated animation and music, called 'visual music'. Established tools and paradigms for performing live visual music however, have several limitations:
Virtually no user interface exists, with an expressivity comparable to live musical performance.
Mappings between music and visuals are typically reduced to the musicâs beat and amplitude being statically associated to the visuals, disallowing close audiovisual congruence, tension and release, and suspended expectation in narratives.
Collaborative performance, common in other live art, is mostly absent due to technical limitations.
Preparing or improvising performances is complicated, often requiring software development.
This thesis addresses these, through a transdisciplinary integration of findings from several research areas, detailing the resulting ideas, and their implementation in a novel system:
Musical instruments are used as the primary control data source, accurately encoding all musical gestures of each performer. The advanced embodied knowledge musicians have of their instruments, allows increased expressivity, the full control data bandwidth allows high mapping complexity, while musiciansâ collaborative performance familiarity may translate to visual music performance.
The conduct of Mutable Mapping, gradually creating, destroying and altering mappings, may allow for a narrative in mapping during performance.
The art form of Soma, in which correlated auditory, visual and proprioceptive stimulus form a combined narrative, builds on knowledge that performers and audiences are more engaged in performance requiring advanced motor knowledge, and when congruent percepts across modalities coincide.
Preparing and improvising is simplified, through re-adapting the Processing programming language for artists to behave as a plug-in API, thus encapsulating complexity in modules, which may be dynamically layered during performance. Design research methodology is employed during development and evaluation, while introducing the additional viewpoint of ethnography during evaluation, engaging musicians, audience and visuals performers
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Nonlinear Dynamical Processes in Musical Interactions: investigating the role of nonlinear dynamics in supporting surprise and exploration in interactions with digital musical instruments
Nonlinear dynamical processes play a central role in many acoustic instruments, yet they rarely feature in digital instruments, and are little understood from an interaction design perspective. Such processes exhibit behaviours that are complex, time-dependent, and chaotic, yet in the context of acoustic instruments can facilitate interactions that are explorable, learnable and repeatable. This suggests that these processes merit deeper investigation for digital music interaction design.
Two studies are presented which investigate user interaction with nonlinear dynamical musical tools. A lab-based study used four purpose-built digital musical instruments to test interaction designs featuring nonlinear dynamical processes. Evaluations with 28 musicians demonstrated the potential for these processes to provoke creative surprises, and support exploration without a corresponding loss of control. A subsequent ethnographically-informed study with 24 musicians linked these findings to a mode of engagement which we term âedge-like interactionâ. Edge-like interactions draw on the complex, unpredictable behaviours found in nonlinear dynamical processes close to critical thresholds, facilitating creative exploration.
The two complementary studies provide evidence both for the existing importance of nonlinear dynamical processes in musical interactions with acoustic interactions, and their potential for deployment in the development of new creative digital technologies, musical or otherwise
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Nonlinear Dynamics In Musical Interactions
This thesis examines nonlinear dynamical processes in musical tools, identifying certain roles that they play in creative interactions with existing tools, and investigates the roles they might play in digital tools. Nonlinear dynamical processes are fundamental in the everyday physical world. They lie at the core of many acoustic instruments, playing a particularly significant role in bowed and blown instruments.
Two major studies are presented that approach these issues from different perspectives. Firstly a set of comparative studies explore the ways in which musicians engage with systems that do and do not incorporate nonlinear dynamical processes. Secondly, interviews with a range of musicians engaged in contemporary musical practices â particularly free improvisation â are used to investigate the role of nonlinear dynamical processes in instrumental interactions in relation to unpredictability and creative exploration.
Evidence is presented demonstrating that nonlinear dynamical processes can be drawn on as resources for exploration over long time periods. An approach to creative interaction that explicitly draws on the properties of nonlinear dynamical processes is uncovered and connected to material-oriented notions of creative processes. Nonlinear dynamics are shown to facilitate a productive ââsweet spotââ between unpredictability and complexity on the one hand, and detailed, sensitive, deterministic control, coupled with the potential to repeat and develop particular actions on the other. The importance of timing in interactions with nonlinear dynamical processes is highlighted as being significant in creating explorable interactions, particularly close to critical thresholds.
A distinction is raised between instantaneous unpredictabilities that emerge from the interaction with the tool (interactional ), and unpredictabilities that result from the unexpected implications of the conjunction of otherwise anticipated elements (combinatorial). While the usefulness of the latter in creative interactions is frequently acknowledged in HCI research, the former is often excluded, or seen as a hinderance or obstruction. Engagements with nonlinear dynamical processes in existing musical instruments and practices provide clear evidence of the utility of both nonlinear dynamics, and interactional surprises more generally, suggesting that they can be of use in other domains where creative exploration is a concern
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