A NIME Reader: Fifteen Years of New Interfaces for Musical by Alexander Refsum Jensenius, Michael J. Lyons
By Alexander Refsum Jensenius, Michael J. Lyons
What is a musical tool? What are the musical tools of the longer term? This anthology provides thirty papers chosen from the fifteen 12 months lengthy historical past of the foreign convention on New Interfaces for Musical Expression (NIME). NIME is a number one song know-how convention, and an enormous venue for researchers and artists to give and speak about their explorations of musical tools and technologies.
Each of the papers is by way of commentaries written by means of the unique authors and by means of best specialists. the amount covers vital advancements within the box, together with the earliest studies of tools just like the reacTable, Overtone Violin, Pebblebox, and Plank. There also are various papers offering new improvement structures and applied sciences, in addition to severe reflections, theoretical analyses and creative experiences.
The anthology is meant for newbies who are looking to get an outline of contemporary advances in song know-how. The old strains, meta-discussions and reflections can be of curiosity for longtime NIME members. The ebook hence serves either as a survey of influential prior paintings and as a kick off point for brand new and fascinating destiny developments.
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Additional info for A NIME Reader: Fifteen Years of New Interfaces for Musical Expression (Current Research in Systematic Musicology)
We find that this albeit schematic framework allows us to view the roles of human motor learning, controller mapping, and generative software as an overall adaptive system (Lee and Wessel 1992). Unlike the one gesture to one acoustic event paradigm our framework allows for generative algorithms to produce complex musical structures consisting of many events. One of our central metaphors for musical control is that of driving or flying about in a space of musical processes. Gestures move through time as do the musical processes.
Moving the pen gradually from left to right at the appropriate rate results in a resynthesis with the original temporal behavior, but any other gesture results in an alteration of the original. This interface allows a performer to play more arbitrary musical material, while preserving the fine continuous structure of the original input sounds. This kind of interface has been used in live performance contexts with classical Indo-Pakistani singing (Wessel et al. 1998), trombone samples with expressive glissandi, and saxophone quartet material.
Degree in computer-based music theory and acoustics from Stanford University, in 2004, and Master in Acoustics, computer science and signal processing applied to music from IRCAM, in 1997. She is president of the Sound and Music Computing Association, and Vice-President for the International Computer Music Association. She has extensively published in numerous international journals and conferences. Editors and Contributors xxxv Scott Smallwood is a sound artist, composer, and musician who creates works inspired by discovered textures and forms, through a practice of listening, ﬁeld recording, and sonic improvisation.