PHOXES - Modular Electronic Music Instruments based on Physical Modeling Sound Synthesis

(Abstract to follow

Digital theremins--interactive musical experiences for amateurs using electric field sensing

Thesis (M.S.)--Massachusetts Institute of Technology, Program in Media Arts & Sciences, 1995.Includes bibliographical references (p. [79]-[80]).by David Michael Waxman.M.S

Making Up Instruments: Design Fiction for Value Discovery in Communities of Musical Practice

The design of a new technology entails the materialisation of values emerging from the specific community, culture and context in which that technology is created. Within the domain of musical interaction, HCI research often examines new digital tools and technologies which can carry unstated cultural assumptions. This paper takes a step back to present a value discovery exercise exploring the breadth of perspectives different communities might have in relation to the values inscribed in fictional technologies for musical interaction. We conducted a hands-on activity in which musicians active in different contexts were invited to envision not-yet-existent musical instruments. The activity revealed several sources of influence on participants’ artefacts, including cultural background, instrumental training, and prior experience with music technology. Our discussion highlights the importance of cultural awareness and value rationality for the design of interactive systems within and beyond the musical domain

Amplifying Actions - Towards Enactive Sound Design

Recently, artists and designers have begun to use digital technologies in order to stimulate bodily interaction, while scientists keep revealing new findings about sensorimotor contingencies, changing the way in which we understand human knowledge. However, implicit knowledge generated in artistic projects can become difficult to transfer and scientific research frequently remains isolated due to specific disciplinary languages and methodologies. By mutually enriching holistic creative approaches and highly specific scientific ways of working, this doctoral dissertation aims to set the foundation for Enactive Sound Design. It is focused on sound that engages sensorimotor experience that has been neglected within the existing design practices. The premise is that such a foundation can be best developed if grounded in transdisciplinary methods that bring together scientific and design approaches. The methodology adopted to achieve this goal is practice-based and supported by theoretical research and project analysis. Three different methodologies were formulated and evaluated during this doctoral study, based on a convergence of existing methods from design, psychology and human-computer interaction. First, a basic design approach was used to engage in a reflective creation process and to extend the existing work on interaction gestalt through hands-on activities. Second, psychophysical experiments were carried out and adapted to suit the needed shift from reception-based tests to a performance-based quantitative evaluation. Last, a set of participatory workshops were developed and conducted, within which the enactive sound exercises were iteratively tested through direct and participatory observation, questionnaires and interviews. A foundation for Enactive Sound Design developed in this dissertation includes novel methods that have been generated by extensive explorations into the fertile ground between basic design education, psychophysical experiments and participatory design. Combining creative practices with traditional task analysis further developed this basic design approach. The results were a number of abstract sonic artefacts conceptualised as the experimental apparatuses that can allow psychologists to study enactive sound experience. Furthermore, a collaboration between designers and scientists on a psychophysical study produced a new methodology for the evaluation of sensorimotor performance with tangible sound interfaces.These performance experiments have revealed that sonic feedback can support enactive learning. Finally, participatory workshops resulted in a number of novel methods focused on a holistic perspective fostered through a subjective experience of self-producing sound. They indicated the influence that such an approach may have on both artists and scientists in the future. The role of designer, as a scientific collaborator within psychological research and as a facilitator of participatory workshops, has been evaluated. Thus, this dissertation recommends a number of collaborative methods and strategies that can help designers to understand and reflectively create enactive sound objects. It is hoped that the examples of successful collaborations between designers and scientists presented in this thesis will encourage further projects and connections between different disciplines, with the final goal of creating a more engaging and a more aware sonic future.European Commission 6th Framework and European Science Foundation (COST Action

Electronic musical instruments as interactive exhibits in museums

Whilst recent museum exhibitions have explored electronic musical instruments, the interpretational focus has been on materiality rather than sounds produced. Similarly, whilst authors have ‘followed the instruments’ to find the people who used and designed them, those who create and shape their sounds remain comparatively hidden. To address this problem, this thesis introduces sound genealogy – a methodology towards following the evolution of a sound through material networks and people - as an interpretational framework to support exhibition teams in explicitly connecting sounds to instrument interfaces using multi-sensory interactive exhibits. Adopting this methodology will improve visitors’ experiences of music and sound content, helping them connect sounds from their lived experiences to the instruments associated with them: demonstrating how material networks can influence a sound’s popularity and musical value over time, whilst drawing attention to the people involved in the design and use of both sounds and instruments. Chapter one positions this research within contemporary exhibition practices and analyses the methodologies and literature that define the scope for upcoming discussions. The involvement of the UK’s Science Museum Group institutions is also highlighted. Chapters two to four present three case-study insights based on observations of objects and their sounds, and the use of representative exhibits, in North American, European, and British museums. These case studies were chosen so as to represent a range of instrument categories (synthesizers, samplers, drum machines) and interpretational foci (interface, sound, function). Interview data obtained from exhibition team members highlights the strategies and challenges in co-creating positive exhibit experiences for diverse audiences. Evidence from these case studies also supports the analyses of theories and concepts from museum studies, science and technology studies, and sound studies in chapters five and six. This helps to position - and advocate for - the adoption of a sound genealogy methodology in demonstrating the value of sound through interactivity. Additionally, the anticipation and management of visitor behaviours is considered in the context of successfully attaining learning and entertainment goals. Finally, chapters seven and eight document the creation and evaluation of an original interactive exhibit by the author, supported by the sound genealogy methodology

Proceedings of the 2015 WA Chapter of MSA Symposium on Music Performance and Analysis

This publication, entitled Proceedings of the 2015 WA Chapter MSA Symposium on Music Performance and Analysis, is a double-blind peer-reviewed conference proceedings published by the Western Australian Chapter of the Musicological Society of Australia, in conjunction with the Western Australian Academy of Performing Arts, Edith Cowan University, edited by Jonathan Paget, Victoria Rogers, and Nicholas Bannan. The original symposium was held at the University of Western Australia, School of Music, on 12 December 2015. With the advent of performer-scholars within Australian Universities, the intersections between analytical knowledge and performance are constantly being re-evaluated and reinvented. This collection of papers presents several strands of analytical discourse, including: (1) the analysis of music recordings, particularly in terms of historical performance practices; (2) reinventions of the \u27page-to-stage\u27 paradigm, employing new analytical methods; (3) analytical knowledge applied to pedagogy, particularly concerning improvisation; and (4) so-called \u27practice-led\u27 research.https://ro.ecu.edu.au/ecubooks/1005/thumbnail.jp

INTERACTIVE SONIFICATION STRATEGIES FOR THE MOTION AND EMOTION OF DANCE PERFORMANCES

The Immersive Interactive SOnification Platform, or iISoP for short, is a research platform for the creation of novel multimedia art, as well as exploratory research in the fields of sonification, affective computing, and gesture-based user interfaces. The goal of the iISoP’s dancer sonification system is to “sonify the motion and emotion” of a dance performance via musical auditory display. An additional goal of this dissertation is to develop and evaluate musical strategies for adding layer of emotional mappings to data sonification. The result of the series of dancer sonification design exercises led to the development of a novel musical sonification framework. The overall design process is divided into three main iterative phases: requirement gathering, prototype generation, and system evaluation. For the first phase help was provided from dancers and musicians in a participatory design fashion as domain experts in the field of non-verbal affective communication. Knowledge extraction procedures took the form of semi-structured interviews, stimuli feature evaluation, workshops, and think aloud protocols. For phase two, the expert dancers and musicians helped create test-able stimuli for prototype evaluation. In phase three, system evaluation, experts (dancers, musicians, etc.) and novice participants were recruited to provide subjective feedback from the perspectives of both performer and audience. Based on the results of the iterative design process, a novel sonification framework that translates motion and emotion data into descriptive music is proposed and described

The development of a Modular Accessible Musical Instrument Technology Toolkit using action research

Within the field of digital musical instruments, there have been a growing number of technological developments aimed at addressing the issue of accessibility to music-making for disabled people. This study summarizes the development of one such technological system—The Modular Accessible Musical Instrument Technology Toolkit (MAMI Tech Toolkit). The four tools in the toolkit and accompanying software were developed over 5 years using an action research methodology. A range of stakeholders across four research sites were involved in the development. This study outlines the methodological process, the stakeholder involvement, and how the data were used to inform the design of the toolkit. The accessibility of the toolkit is also discussed alongside findings that have emerged from the process. This study adds to the established canon of research around accessible digital musical instruments by documenting the creation of an accessible toolkit grounded in both theory and practical application of third-wave human–computer interaction methods. This study contributes to the discourse around the use of participatory and iterative methods to explore issues with, and barriers to, active music-making with music technology. Outlined is the development of each of the novel tools in the toolkit, the functionality they offer, as well as the accessibility issues they address. The study advances knowledge around active music-making using music technology, as well as in working with diverse users to create these new types of systems