Screen-based musical instruments as semiotic machines

The ixi software project started in 2000 with the intention to explore new interactive patterns and virtual interfaces in computer music software. The aim of this paper is not to describe these programs, as they have been described elsewhere, but rather explicate the theoretical background that underlies the design of these screen-based instruments. After an analysis of the similarities and differences in the design of acoustic and screen-based instruments, the paper describes how the creation of an interface is essentially the creation of a semiotic system that affects and influences the musician and the composer. Finally the terminology of this semiotics is explained as an interaction model

The ixiQuarks: merging code and GUI in one creative space

This paper reports on ixiQuarks; an environment of instruments and effects that is built on top of the audio programming language SuperCollider. The rationale of these instruments is to explore alternative ways of designing musical interaction in screen-based software, and investigate how semiotics in interface design affects the musical output. The ixiQuarks are part of external libraries available to SuperCollider through the Quarks system. They are software instruments based on a non- realist design ideology that rejects the simulation of acoustic instruments or music hardware and focuses on experimentation at the level of musical interaction. In this environment we try to merge the graphical with the textual in the same instruments, allowing the user to reprogram and change parts of them in runtime. After a short introduction to SuperCollider and the Quark system, we will describe the ixiQuarks and the philosophical basis of their design. We conclude by looking at how they can be seen as epistemic tools that influence the musician in a complex hermeneutic circle of interpretation and signification

Comparison of input devices in an ISEE direct timbre manipulation task

The representation and manipulation of sound within multimedia systems is an important and currently under-researched area. The paper gives an overview of the authors' work on the direct manipulation of audio information, and describes a solution based upon the navigation of four-dimensional scaled timbre spaces. Three hardware input devices were experimentally evaluated for use in a timbre space navigation task: the Apple Standard Mouse, Gravis Advanced Mousestick II joystick (absolute and relative) and the Nintendo Power Glove. Results show that the usability of these devices significantly affected the efficacy of the system, and that conventional low-cost, low-dimensional devices provided better performance than the low-cost, multidimensional dataglove

Functionality and history of electronics in regards to the performance practice of the following works: Temazcal (1984), Javier Álvarez, and Memory Palace (2012), Christopher Cerrone

Master's Project (M.Mu.) University of Alaska Fairbanks, 2016The Electroacoustic pieces; Temazcal (1984), by Javier Alvarez (b.1956), and Memory Palace (2012) by Christopher Cerrone (b.1984), each employ different types of electronic technologies in their realization through performance. This paper will discuss the origin and history of the technology applied respectively in the works. I will examine the role of percussion within the works, specifically in regards to learning and problem solving through technological challenges in order to effectively perform the compositions. By looking at Temazcal and Memory Palace through the context of their historical significance as electroacoustic works, the inherent functionality of the technology employed in each, and the resultant performance practices that have subsequently developed, a greater musical appreciation and understanding of electroacoustic works, in general, is possible

PLXTRM : prediction-led eXtended-guitar tool for real-time music applications and live performance

peer reviewedThis article presents PLXTRM, a system tracking picking-hand micro-gestures for real-time music applications and live performance. PLXTRM taps into the existing gesture vocabulary of the guitar player. On the first level, PLXTRM provides a continuous controller that doesn’t require the musician to learn and integrate extrinsic gestures, avoiding additional cognitive load. Beyond the possible musical applications using this continuous control, the second aim is to harness PLXTRM’s predictive power. Using a reservoir network, string onsets are predicted within a certain time frame, based on the spatial trajectory of the guitar pick. In this time frame, manipulations to the audio signal can be introduced, prior to the string actually sounding, ’prefacing’ note onsets. Thirdly, PLXTRM facilitates the distinction of playing features such as up-strokes vs. down-strokes, string selections and the continuous velocity of gestures, and thereby explores new expressive possibilities

Confessions of a live coder

This paper describes the process involved when a live coder decides to learn a new musical programming language of another paradigm. The paper introduces the problems of running comparative experiments, or user studies, within the field of live coding. It suggests that an autoethnographic account of the process can be helpful for understanding the technological conditioning of contemporary musical tools. The author is conducting a larger research project on this theme: the part presented in this paper describes the adoption of a new musical programming environment, Impromptu, and how this affects the author’s musical practice