Embodied Musical Interaction

Music is a natural partner to human-computer interaction, offering tasks and use cases for novel forms of interaction. The richness of the relationship between a performer and their instrument in expressive musical performance can provide valuable insight to human-computer interaction (HCI) researchers interested in applying these forms of deep interaction to other fields. Despite the longstanding connection between music and HCI, it is not an automatic one, and its history arguably points to as many differences as it does overlaps. Music research and HCI research both encompass broad issues, and utilize a wide range of methods. In this chapter I discuss how the concept of embodied interaction can be one way to think about music interaction. I propose how the three “paradigms” of HCI and three design accounts from the interaction design literature can serve as a lens through which to consider types of music HCI. I use this conceptual framework to discuss three different musical projects—Haptic Wave, Form Follows Sound, and BioMuse

Timbre from Sound Synthesis and High-level Control Perspectives

International audienceExploring the many surprising facets of timbre through sound manipulations has been a common practice among composers and instrument makers of all times. The digital era radically changed the approach to sounds thanks to the unlimited possibilities offered by computers that made it possible to investigate sounds without physical constraints. In this chapter we describe investigations on timbre based on the analysis by synthesis approach that consists in using digital synthesis algorithms to reproduce sounds and further modify the parameters of the algorithms to investigate their perceptual relevance. In the first part of the chapter timbre is investigated in a musical context. An examination of the sound quality of different wood species for xylophone making is first presented. Then the influence of instrumental control on timbre is described in the case of clarinet and cello performances. In the second part of the chapter, we mainly focus on the identification of sound morphologies, so called invariant sound structures responsible for the evocations induced by environmental sounds by relating basic signal descriptors and timbre descriptors to evocations in the case of car door noises, motor noises, solid objects, and their interactions

Enforcing Multifunctionality: A Pressure-Induced Spin-Crossover Photomagnet

Photomagnetic compounds are usually achieved by assembling preorganized individual molecules into rationally designed molecular architectures via the bottom-up approach. Here we show that a magnetic response to light can also be enforced in a nonphotomagnetic compound by applying mechanical stress. The nonphotomagnetic cyano-bridged Fe^II–Nb^IV coordination polymer {[Fe^II(pyrazole)₄]₂[Nb^IV(CN)₈]·4H₂O}_<i>n</i> (<b>FeNb</b>) has been subjected to high-pressure structural, magnetic and photomagnetic studies at low temperature, which revealed a wide spectrum of pressure-related functionalities including the light-induced magnetization. The multifunctionality of <b>FeNb</b> is compared with a simple structural and magnetic pressure response of its analog {[Mn^II(pyrazole)₄]₂[Nb^IV(CN)₈]·4H₂O}_<i>n</i> (<b>MnNb</b>). The <b>FeNb</b> coordination polymer is the first pressure-induced spin-crossover photomagnet