A NIME Reader Fifteen Years of New Interfaces for Musical Expression 1st Edition by Alexander Refsum Jensenius, Michael Lyons 3319472133 9783319472133

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ISBN-10 :  3319472133 

ISBN-13 :  9783319472133

Author:  Alexander Refsum Jensenius, Michael J. Lyons 

What is a musical instrument? What are the musical instruments of the future? This anthology presents thirty papers selected from the fifteen year long history of the International Conference on New Interfaces for Musical Expression (NIME). NIME is a leading music technology conference, and an important venue for researchers and artists to present and discuss their explorations of musical instruments and technologies. Each of the papers is followed by commentaries written by the original authors and by leading experts. The volume covers important developments in the field, including the earliest reports of instruments like the reacTable, Overtone Violin, Pebblebox, and Plank. There are also numerous papers presenting new development platforms and technologies, as well as critical reflections, theoretical analyses and artistic experiences. The anthology is intended for newcomers who want to get an overview of recent advances in music technology. The historical traces, meta-discussions and reflections will also be of interest for longtime NIME participants. The book thus serves both as a survey of influential past work and as a starting point for new and exciting future developments.

 

A NIME Reader Fifteen Years of New Interfaces for Musical Expression 1st Table of contents:

2001: Principles for Designing Computer Music Controllers
1 Introduction
2 Winds: Cook/Morrill Trumpet 1986–89 HIRN 1991
3 Voice: SPASM 1988–94
4 PhISEM Shaker Percussion: 1996–1999
5 Foot, Hand, Kitchen Wear/Ware 1997–2000
6 Violins/Strings: BoSSA, the Nukelele 1998–99
7 The Voice (Again): SqueezeVox 2000
8 Future Work and Conclusions
9 Demonstrations
References
2001: Problems and Prospects for Intimate Musical Control of Computers
1 Introduction
2 Low Entry Fee with No Ceiling on Virtuosity
3 Latency Requirements for Control Intimacy
4 Discrete Event Versus Continuous Control
5 Open Sound Control (OSC)
6 A Programmable Connectivity Processor
7 Musical Control Structures for Standard Gestural Controllers
8 Some Custom Controllers
9 Metaphors for Musical Control
9.1 Drag and Drop
9.2 Scrubbing and Its Variants
9.3 Dipping
References
2002: The Importance of Parameter Mapping in Electronic Instrument Design
1 Electronic Instruments and the Mapping Layer
2 The Importance of Mapping
3 Informal Observations
3.1 The Accidental Theremin
3.2 Two Sliders and Two Sound Parameters
4 Mapping Experiments
4.1 Complex Mapping for Arbitrary Interfaces
4.2 Focusing on the Effect of Mapping Strategies
4.3 Learning from Acoustic Instruments
5 Models and Guidelines for Mapping
5.1 One-to-one Mappings—Multiple Layers
6 Future Discussion of Mapping
7 Conclusions
References
2002: Multimodal Interaction in Music Using the Electromyogram and Relative Position Sensing
1 Introduction
2 Review of Multimodal Interaction
3 The Electromyogram (EMG)/Position Sensing System
4 Applying Multimodel Interaction Principles to Musical Control
4.1 Music as Use Case for Multimodal HCI
4.2 Complementarity
4.3 Bidirectional Complementarity
5 Requirements for Multimodal Musical Interaction
5.1 Efficiency of Articulation and Communication
5.2 Multitasking Versus Multimodal
5.3 Defining a Successful Multimodal Interface
5.4 Intuition
5.5 Expansion Versus Fusion
6 Application to Live Performance
7 Conclusions
References
2002: The Plank: Designing a Simple Haptic Controller
1 Introduction
1.1 Scanned Synthesis
1.2 Haptics
2 Haptic Illusions
2.1 Slope
2.2 Clutch
3 Hardware
3.1 Motors
3.2 Microcontroller
3.3 Sensing and Orthogonal Force Control
4 Effects
4.1 Table of Forces: Terrain
4.2 Motion: Dynamics
4.3 Friction
5 Progress and Plans
References Contexts 
2003: Contexts of Collaborative Musical Experiences
1 Introduction
1.1 Accessible Music
1.2 Balancing Complexity and Expressivity
1.3 Mapping and Control Issues
2 Contexts of Collaborative Interfaces
2.1 Focus
2.2 Location
2.3 Media
2.4 Scalability
2.5 Player Interaction
2.6 Musical Range/Notes
2.7 Physical Interface/Sensor
2.8 Directed Interaction
2.9 Pathway to Expert Performance
2.10 Level of Physicality Between Players (and Interface)
3 Conclusion
References
2003: Sonigraphical Instruments: From FMOL to the reacTable*
1 Introduction
2 Sonigraphical Preliminaries
2.1 Epizoo (1994–1995)
2.2 Reintroducing FMOL (1997–2002)
2.3 FMOL Musical Output
2.4 FMOL Visual Feedback
3 Sonigraphical Tools
3.1 Media Players and VJ Tools
3.2 Golan Levin’s Work
4 The reacTable*
4.1 Preliminary
4.2 Intentions
4.3 Computer Vision and Tangible Objects
4.4 Visuals (1)
4.5 But Where Is MAX?
4.6 Visuals (2): Audio Flow
4.7 Avoid User’s Frustration at Any Cost
5 Current Implementation
6 Future Work and Conclusion
References
2003: Designing, Playing, and Performing with a Vision-Based Mouth Interface
1 Introduction
2 Related Work
2.1 Mouth and Vocal Tract Controllers
2.2 Vision-Based Musical Interfaces
3 Design Evolution
3.1 Face Tracking System
3.2 Headworn System
3.3 Machine-Vision Board
3.4 Current Implementation
4 Mapping and Applications
4.1 Mapping
4.2 Applications
5 Live Performance
6 Conclusion
References
2003: OpenSound Control: State of the Art 2003
1 Tutorial Overview of OSC
1.1 Client/Server
1.2 Messages
1.3 Argument Data Types
1.4 Addressing Scheme
1.5 Address Pattern Matching
1.6 Bundles and Temporal Atomicity
1.7 Time Tags
1.8 Queries
2 Implementations of OSC
2.1 CNMAT’s Open-Source OSC Software
2.2 Music Programming Environments
2.3 Software Synthesizers
2.4 General Purpose Programming Languages
2.5 Web Graphics Systems
2.6 Gesture-to-OSC Hardware
3 OSC-Based Networking Applications
4 OSC Pedagogy
5 Benefits of Organizing Real-Time Music Software with OSC
5.1 A Module’s OSC Namespace Is Its Entire Functionality
5.2 Storing and Recalling Global Snapshots of Complex Software Components with OSC
5.3 Managing Polyphony with OSC
5.4 Dynamic Routing of Controller Data with OSC
6 Future of OSC
References
2004: The Electronic Sitar Controller
1 Introduction
2 Evolution of the Sitar
3 Sitar Technique
3.1 Construction of a Sitar
3.2 Hindustani Note Annotation
3.3 Sitar Playing Technique
4 The MIDI Sitar Controller
4.1 The Atmel Microcontroller
4.2 Gesture Capturing
5 Mapping Signals to Sound
5.1 Requirements
5.2 Pure Data Patches
6 Graphic Feedback
7 ESitar in Live Performance
8 Conclusion
References
2004: PebbleBox and CrumbleBag: Tactile Interfaces for Granular Synthesis
1 Introduction
2 Design Goals
3 Controller Design
3.1 Object Interaction: PebbleBox
3.2 Grabbing Action: CrumbleBag
4 Audio-Driven Granular Synthesis
4.1 Grainification Process
5 Examples and Applications
5.1 Recorded Environmental Sound Grains
5.2 Physically Informed Parametric Models
6 Conclusion
References
2004: Toward a Generalized Friction Controller: From the Bowed String to Unusual Musical Instrument
1 Introduction
2 Tibetan Bowl and Glass Harmonica
2.1 The Tibetan Bowl
2.2 The Glass Harmonica
2.3 A Controller for Tibetan Bowl and Glass Harmonica
3 Musical Saw and Bowed Cymbal
3.1 Modeling a Musical Saw
4 Bowed Cymbals
4.1 Modeling Bowed Cymbal
4.2 A Controller for Musical Saw and Bowed Cymbal
5 Toward a Generalized Friction Controller
6 Conclusion
References
2004: On-the-Fly Programming: Using Code as an Expressive Musical Instrument
1 Introduction
2 Background
2.1 Definition
2.2 Challenges
2.3 Existing Languages and Systems
3 ChucK Overview
3.1 Representation
3.2 Level of Control
3.3 Concurrent Audio Programming
3.4 ChucK Virtual Machine
4 The On-the-Fly Model
4.1 Operational Semantics
4.2 An On-the-Fly Example
4.3 Properties
5 An Open On-the-Fly Aesthetic
6 Conclusions and Future Work
References
2005: Towards a Dimension Space for Musical Devices
1 Examining Musical Devices
2 Design Space Analysis
2.1 Dimension Space Analysis
2.2 An Example Dimension Space
3 Trends in Dimension Plots
4 Conclusions
References
2005: The Overtone Violin
1 Introduction
2 Motivation and Background
3 Design of the Overtone Violin
3.1 Optical Audio Pickup
3.2 Gesture Sensors
4 Conclusion
References
2006: Sensemble: A Wireless, Compact, Multi-user Sensor System for Interactive Dance
1 Introduction
2 Goals
3 Hardware Design
4 Results
4.1 Correlated Motion
4.2 Quantifying Activity
4.3 Capacitive Sensor
5 Generating Musical Feedback
6 Conclusions and Future Work
References
2006: Mobile Music Technology: Report on an Emerging Community
1 Introduction
2 Mobile Music Technology
2.1 Mobile Music: Beyond Portability
2.2 Reconsidering Musical Interaction with Mobility
2.3 Another Dimension to Creative Engagement with Consumer Products
3 International Workshops
3.1 Projects
3.2 Group Activities
3.3 Dissemination of Results
4 Conclusions and Future Work
References
2007: Wireless Sensor Interface and Gesture-Follower for Music Pedagogy
1 Introduction
2 Wireless Interface and Sensors
2.1 Requirements
2.2 Related Works
2.3 Data Acquisition and Transmission
2.4 Data Reception and Computer Communication
2.5 Sensors and Power Supply
2.6 Performances and Applications
3 Realtime Gesture Analysis
3.1 Gesture Following/Recognition
3.2 Algorithm
4 Pedagogical Experiments
4.1 Interaction Paradigms
4.2 Experiment 1: Conducting
4.3 Experiment 2: Free Gesture Exploration
4.4 Discussion and Further Work
5 Conclusion
References
2007: Don’t Forget the Laptop: Using Native Input Capabilities for Expressive Musical Control
1 Motivation
2 Background
3 Mapping Strategies
3.1 Keyboard
3.2 Trackpad
3.3 “Smack-Sensing”
3.4 Laptop Microphone and Speaker
4 Other Strategies
4.1 Webcams
4.2 Networking
4.3 The Kitchen Sink
5 A New Toolkit
6 Concluding Remarks
References
2007: Expression and Its Discontents: Toward an Ecology of Musical Creation
1 Introduction
1.1 Musical Expression
1.2 Musical Control of Expression and the Conflation of an Undefined Expressive Content with the Me
1.3 Evaluation of New Interfaces
2 The Core of the Dominant Model
2.1 Communication of Expression by Performers
2.2 Implications of the Accepted Model of Expression
3 Demands from Contemporary Aesthetic Possibilities
3.1 Experimentalism as Non-expressive Artistic Creation
3.2 Improvisation and Open Form
3.3 Inspirations from New Interfaces for Musical Creation
3.4 The Glitch Aesthetic
4 An Ecological View of Musical Creation
4.1 Consequences of Decommodification of Music and Expression
4.2 Problematizing and Reconsidering Local Description in an Ecological Model
4.3 More Meaningful Interface Evaluations
5 Approaches to Musical Expression with Technology
5.1 Imitation of Expression by Machines
5.2 Interfaces and Mappings to Facilitate Traditional Expression
5.3 Develop New Expressive Cues While Maintaining the Listener’s Text/Act Model
5.4 Questioning Expression as the Goal
6 Future Directions for the Design of New Interfaces
7 Conclusion
References
2007: The Acoustic, the Digital and the Body: A Survey on Musical Instruments
1 Introduction
2 The Survey
2.1 The Participants
2.2 The Questionnaire
2.3 The Methodology
3 The Evaluation
3.1 The Survey Participant
3.2 Acoustic Versus Digital Instruments
3.3 Affordances and Constraints
3.4 The Instrument Maker Criticised
3.5 Entropy and Control in Instruments
3.6 Time and Embodiment
4 Interesting Comments
5 Discussion
6 Future Work
References
2008: Eight Years of Practice on the Hyper-Flute: Technological and Musical Perspectives
1 Introduction
2 Background
2.1 Why, Where and When
2.2 Original Design
3 Learning Experience
3.1 Design and Sensors
3.2 Performance Skills
3.3 Mapping Strategies
4 Interactive Composition, Improvisation & Performance
5 New Developments
5.1 Hyper-Flute
5.2 Hyper-Bass-Flute
5.3 Interface
5.4 Mapping Research Project
6 Musical Perspectives
References
2009: A History of Hemispherical Speakers at Princeton, Plus a DIY Guide
1 Introduction
2 The Near Complete History of Princeton Spherical and Hemispherical Speakers
2.1 1997
2.2 1998
2.3 1999
2.4 2001
2.5 2005
2.6 2008: The Dawning of the Age of Delorean
3 Build Your Own Delorean
3.1 Ingredients
3.2 Building the Speaker
3.3 Connecting Cable/Adapters
4 Evaluation and Future Work
References
2011: Satellite CCRMA: A Musical Interaction and Sound Synthesis Platform
1 Introduction
2 Platform Description
2.1 Hardware
2.2 Software
3 Motivation
3.1 Longevity
3.2 Independence/Autonomy
3.3 Native Floating Point Computation
3.4 Compactness
3.5 Reconfigurability and Extensibility
3.6 Community Support
4 Related Work
4.1 Prior Platforms
4.2 Similar Platforms
4.3 Alternative Platforms
5 Project Highlights
5.1 Independent Musical Instrument
5.2 Independent Dance Interface
5.3 Video-Based Interactive Installation
5.4 Multichannel Audio in a Collaborative Installation Piece
5.5 Audio Effects Stompboxes
6 Satellite CCRMA Website
7 Future
8 Conclusions
References
2012: The Fingerphone: A Case Study of Sustainable Instrument Redesign
1 Introduction
1.1 Stylophone
1.2 Mottainai! (What a Waste!)
1.3 History
1.4 Contributions
2 The Fingerphone
2.1 Reduce
2.2 Reuse
2.3 Recycle
3 Use Maximization
3.1 Introduction
3.2 Timbre
3.3 Dynamics
3.4 Manual Layouts
3.5 Size Matters
4 Discussion
4.1 Impact
4.2 Design Theory
4.3 Transitional Instruments
References
2012: To Be Inside Someone Else’s Dream: Music for Sleeping and Waking Minds
1 Introduction
2 Compositional Elements
3 Mapping Sleep to Sound
3.1 Background
3.2 The Hardware Configuration
3.3 The Mapping Software
4 Performance
5 Conclusion
References
2012: TouchKeys: Capacitive Multi-touch Sensing on a Physical Keyboard
1 Introduction
1.1 Related Work
2 Capacitive Sensing
2.1 Keyboard Sensor Design
2.2 PCB Design Guidelines
2.3 Surface Coating
2.4 Data Aggregation
3 Mapping Touch Data
3.1 Dynamic MIDI Mapping
3.2 Control and Playability
3.3 Example: Analog-Modeling Synth
4 Conclusion
References
2013: The Web Browser as Synthesizer and Interface
1 Introduction
2 Problems and Possibilities of the Web Audio API
3 Gibberish: An Optimized JavaScript Audio Library
3.1 Code Generation
3.2 Gibberish Ugens
3.3 (Single Sample) Feedback
3.4 Scheduling and Sequencing
4 Interface.js
4.1 Event Handling in Interface.js
4.2 Interface Layout and Appearance
4.3 Preset Management
4.4 Networked Control
5 Integrating Interface.js and Gibberish.js
6 Related Work
7 Conclusions and Future Work
References
2014: To Gesture or Not? An Analysis of Terminology in NIME Proceedings 
1 Introduction
2 Gesture Definitions
2.1 Dictionary Definitions
2.2 Academic Definitions
3 `Gesture’ in NIME Proceedings
3.1 Method
3.2 Results
4 `Gesture’ Elsewhere
4.1 Method
4.2 Results
5 Concordance and Collocation
5.1 Method
5.2 Results
6 Conclusions
References
2015: Fourteen Years of NIME: The Value and Meaning of `Community’ in Interactive Music Research
1 Introduction
2 Background
2.1 Learning in Context: Situated Learning and Communities of Practice
3 NIME as a Community
3.1 Case Studies: Interactive Music Communities Within NIME
4 Summary

 

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