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

A Critical Analysis of Synthesizer User Interfaces for Timbre

In this paper, we review and analyse categories of user interface used in hardware and software electronic music synthesizers. Problems with the user specification and modification of timbre are discussed. Three principal types of user interface for controlling timbre are distinguished. A problem common to all three categories is identified: that the core language of each category has no well-defined mapping onto the task languages of subjective timbre categories as used by musicians

Musical Viruses for graceful seduction

The +++ Wearable Player is a result of the application of the Rights through Making approach in designing wearables. This approach aims at designing systems, whose use empowers people towards the materialization of values (e.g. human rights). The +++ Wearable Player system elaborates on the previous project Sound Experience, and introduces the concept of viral music exchange as a motivating factor in the context of social health. This paper describes the morphological genesis, the functional aspects and how they have been implemented in a fully working experienceable prototype. The design process and its outcomes are illustrated, in the framework of the “changing behaviour” design trend

Feedback Control of Human Stress with Music Modulation

Mental stress has known detrimental effects on human health, however few algorithmic methods of reducing mental stress have been widely explored. While the act of listening to music has been shown to have beneficial effects for stress reduction, and furthermore, audio players have been designed to selectively choose music and other inputs with the intent of stress reduction, limited work has been conducted for real-time stress reduction with feedback control using physiological input signals such as heart rate or Heart Rate Variability (HRV). This thesis proposes a feedback controller that uses HRV signals from wearable sensors to perform real-time (< 1 second) modulations to music through tempo changes with the goal to regulate and reduce stress levels. A standardized, stress inducing test based on the popular Stroop test is also introduced, which has been shown to induce acute stress in subjects and can be used as a testing benchmark for controller design. Ultimately, a controller is presented that when used is not only able to maintain stress levels during stress-inducing inputs to a human but even provides de-stressing effects beyond baseline performance.No embargoAcademic Major: Electrical and Computer Engineerin

A novel continuous pitch electronic wind instrument controller

We present a design for an electronic continuous pitch wind controller for musical performance. It uses a combination of linear position, magnetic reed, and air pressure sensors to generate three fully continuous control dimensions. Each control dimension is encoded and transmitted using the industry standard MIDI protocol to allow the instrument to interface with a large variety of synthesizers to control different parameters of the synthesis algorithm in real time, allowing for a high degree of expressiveness not possible with existing electronic wind instrument controllers. The first part of the thesis will provide a justification for the design of a novel instrument, and present some of the theory behind pitch representation, encoding, and transmission with respect to digital systems. The remainder of the thesis will present the particular design and explain the workings of its various subsystems