Design process of augmented instruments

Augmented instruments (instruments expanded through their placement in a sound chain, the use of sensors and software tools) use advances in electronic and computational technology to develop new forms of expressiveness in musical performance, sonic possibilities, and compositional languages, widening the frontiers of musical art and its staging. This article focuses on describing the design process behind a series of case studies of hyper instruments: The augmented violin developed at IRCAM (Frédéric et al. 2006), the Hybrid Augmented Saxophone of Gestural Control (HASGS) (Portovedo, Lopes, and Mendes 2018), the augmented concert harp (Sullivan et al. 2018) and the sets used by Yaron Deutsch for the performance of contemporary electric guitar works. One of the aims pursued by studying these examples is to categorize the augmented instruments according to several parameters: types of sensors and hardware, mapping, need for computers and kind of software, type of gesture control (Newton and Marshall 2011), graphical user interface (Portovedo, Lopes, and Mendes 2018) and need for a musical assistant (Perrotta, Menezes, and Martins 2014). These parameters can be defined as present or absent (mapping, graphical interface, musical assistance, use of computers), specific data (sensor name, software name) or two values parameters (applicable to gesture) (Jansenius, Wanderley, and Godøy 2009). The data is analyzed for each case study and plotted in tables. Another aim is to characterize non-measurable aspects such as the importance of the performer and his involvement in the design of the instrument considering the relationship of the new instrument with the base instrument and the connection among the composition, the performance of the instrument and its theoretical and technological design. Finally, the flexibility of augmentation, that is, the possible appearance of new uses for which the instrument was not originally conceived, is also discussed. The case studies range from Deutsch's proposal, where the performer designs the different hardware connections, no software is used and each set is defined based on the work to be performed, to the concert harp, where technological analysis prevails, the performers test the operation, mathematical and mapping models are of utmost importance and there is a graphical software interface for the user. Like this case is the augmented violin of IRCAM, without a graphical interface in its description, but with a much closer collaboration of the composers. Finally, the HASGS approaches the versatility of the Deutsch sets and is designed from the interpretation and its needs, but places special emphasis on the composition of several specific works for the instrument and on the importance of the graphical user interface. From the analysis of collected data, criteria are established to describe the augmentation process and the different organological typologies, making it possible to organize the family of augmented instruments under a logical classification that allows delving deeper into their repercussion and possibilities. The additional description about the “non-mensurable” offers an image of the background and artistic framework in which the instrument is inscribed.publishe

Towards a non-computercentric performance: an augmented e-guitar proposal

Due to the potential of gestural, parametric, and interactive control of the computer as a sound medium, various interfaces have been created that externalize software and give it a more useful instrumental form for the performers, namely keyboards, pads, pedals, etc. (Bongers 2000). In the practice of an augmented instrument, herein the electric guitar, the need of gestural independence while using a computer is multiplied since most of the time the hands are playing the instrument, and the performer is focused on the musical discourse. Several obstacles occur in performances that integrate a DAW (in this case Ableton live) and electric guitar (Berweck 2012), specifically in adjusting the live mix and the levels of certain effects. Given the closed nature of many sets and effects, these, once configured, are difficult to modify during live performance (Lähdeoja and Navarret 2010). Technical issues increase when the performer tries to control all the parameters of the augmentation with the feet, since they lack the sensitivity of the hands. In addition, the hands already have an integrated gesture because of the performer's embodied knowledge (Portovedo 2020). To achieve this desired flexibility and expressivity, both in improvisation and in the interpretation of contemporary music for electric guitar and electronic media, a midi keyboard has been converted into a new interface adapted to the electric guitar, which allows a more organic control of the parameters. In the interface, one part is handled with the feet and another part is integrated into the guitar. In this way, processes such as live looping, change of set, or sequencing of pre-recorded material are controlled with the feet, and other more delicate controls, such as adjusting levels on tracks and effects, with the hand, using the knobs installed on the guitar. This presentation provides a theoretical framework for the intervention and flexibility of electronic devices (Diegert and Artacho 2018), applying a design perspective based on performance needs, trying to explain and extrapolate the process to provide DIY (Do-It- Yourself) information for building similar devices based on the same underlying principles. For example, to increase and modify the augmented e-guitar device, the functionalities designed for other performers (pianists, DJs, or electronic musicians) are used, employing its circuits in a modular way, and spatially relocating the components. Part of the interest of the process is its relationship to a cultural perspective of reuse, the customization of components adapted to specific needs and the simplification of the technical / technological process (Keller, Schiavoni, and Lazzarini 2019). Finally, three reflections will address the issues that constitute the central axes of the project. The first analyses the factors that determine the instrumental specificity of an electronic device. The second addresses performance with the computer and an augmented instrument on stage, and how to prevent the computer from becoming the performer’s focus of attention. Finally, a brief digression on the Do It Yourself counterculture (McKay 2017) and its ability to generate social value in the field of electronic music creation and augmented instruments is proposed.publishe

Performance musical aumentada : prática multidimensional enquanto co-criação e hybrid augmented saxophone of gestural symbiosis

Este trabalho de investigação é um dos múltiplos elementos que constituem este projeto, o qual me acompanha na minha prática quotidiana, nas minhas preocupações e reflexões estético-teóricas há mais de cinco anos. O documento aqui apresentado debruça-se na prática aumentada relativa à performance e técnicas instrumentais da nova música. As alterações de paradigma no que toca à performance musical contemporânea permitem desenvolver novos modelos de virtuosismo, bem como elevar a própria performance ao estatuto de elemento criativo. Os objetivos deste trabalho passam por identificar os vários processos de expressão musical no campo na nova música, incluindo meios acústicos e eletrónicos, bem como a exploração de possibilidades performativas mediadas por sistemas de computação interativa. Os novos mediums são vistos como possíveis extensões da prática instrumental e disponíveis para propósitos criativos durante os processos composicionais e performativos. Neste sentido, a relação entre compositor e intérprete é um processo fundamental, sendo que esta comunicação dinâmica afeta a forma como a música é concebida e desenvolvida, o que contribui para a afirmação de novas práticas performativas assentes no conceito de multidimensionalidade. É também discutida a relação entre Sistemas Aumentados e Modelos Performativos impostos pelos novos Interfaces de Expressão Musical. Instrumentos musicais acústicos e tecnologia digital, incluindo novos Interfaces de Expressão Musical, são capazes de interagir e se influenciar mutuamente originando ambientes de Performance Aumentada. É aqui apresentado um enquadramento assente no Hybrid Augmented Saxophone of Gestural Symbiosis. Este sistema tem como objetivo manter as qualidades performativas do instrumento acústico, preservando gestos da prática instrumental, reduzindo o uso de periféricos externos no controlo de parâmetros eletrónicos em obras mistas. O HASGS foi desenvolvido com uma perspetiva de Aumentação Reduzida em relação com a evolução do seu repertório original, evitando a incorporação de artefactos que contribuíssem para uma sobrecarga performativa, ou mesmo que, apenas se vocacionasse para a improvisação. São discutidos conceitos de composição, notação e prática afetados por este tipo de interface. Esta tese apresenta-se como um estudo empírico que serve tanto de modelo de análise performativa, como de recurso, fornecendo a compositores e interpretes, estratégias criativas sob a condição multidimensional.This research work is one of the multiple elements that belong to the research being carried in my daily practice, in my concerns and aesthetic-theoretical reflections for more than five years. This document, as part of the project, reports some of the augmented practices related to the performance and instrumental techniques of new music. The changing paradigm of performance practice is creating not only new virtuosity but leading performance as the status of creative tool. The aim of this work is to identify the various processes of musical expression in the field of new music including acoustic and electronic means, including the exploration of performative possibilities using computer-mediation interaction. New mediums are currently seen as possible extensions of instrumental practice and available for creative purposes during the compositional and performative processes. In these processes the relation between composer and performer is a fundamental topic and this dynamic communication is not only affecting the way music is created and developed but as well performed, contributing to new performative practices based on the concept of multidimensionality. At the same time, it discusses the relation between Augmented Instruments and Performative Models imposed by new interfaces for musical expression. Acoustic music instruments and digital technology, including new interfaces for music expression, are able to influence and interact mutually creating Augmented Performance environments. The framework presented here is based on HASGS, Hybrid Augmented Saxophone of Gestural Symbioses. The system was intended to retain the focus on the performance of the acoustic instrument, keeping gestures centralized into the habitual practice of that instrument, reducing the use of external devices to control electronic parameters in mixed music. Taking a reduced approach, the technology chosen to prototype HASGS was developed in order to serve the aesthetic intention of the pieces being that have been written for it, avoiding the overload of solutions that could bring artefacts and superficial use of the augmentation processes which sometimes occur on augmented instruments prototyped just for improvisational intentionality. In this scope, we discuss how notation and composition can be affected by this type of interfaces. I understand this thesis as an empirically-based study which can both serve as a model for analysis, as well provide composers and performers with pathways and creative strategies under the multidimensional condition

Sistemas musicais interativos no ensino especializado da música

Mestrado em Ensino de MúsicaO presente trabalho descreve todo o processo de elaboração de um projeto na área da tecnologia musical e dos sistemas musicais interativos como ferramentas de apoio ao estudo da música e sua performance. Engloba noções e exemplos básicos de programação em Max/ Msp ao mesmo tempo que sugere uma lista de ferramentas a serem usadas no âmbito deste projeto. É apresentada uma contextualização do estado da arte em relação à estética musical de caráter tecnológico e abordado o seu enquadramento no contexto educativo do Conservatório de Música. Realizada a análise dos resultados, com base na observação do autor, em questionários e entrevistas efetuadas aos alunos e também a uma série de profissionais da indústria musical, conclui-se que a prática tecnológica e o uso de sistemas musicais interativos é fundamental ao enquadramento no mercado e atividade musical atual. 6This work describes the entire process of developing a project in the area of music technology and interactive music systems, as a tool to support the study of music principles and its performance. Examples and basic concepts are given by programming Custom Software thru Max/Msp. At the same time we suggest a list of tools to be used under this theme. It presents a contextualization of the state of art in relation to the technological musical aesthetics and discussed their utility in Music Conservatories. The analysis of results, based on the author´s observation, questionnaires and interviews conducted to students and music industry professionals, concludes that, the practice of music technology and interactive music systems is crucial for the actual music market and activity

Music for HASGS

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HASGS: Hybrid augmented system of Gestural Symbiosis Generating Visual Information

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