Access the full text.
Sign up today, get DeepDyve free for 14 days.
Loading next page...
/lp/springer-journals/a-nime-reader-2001-problems-and-prospects-for-intimate-musical-control-vF1IzycRaY
References (44)
-
David Huron (2001)
Tone and Voice: A Derivation of the Rules of Voice-Leading from Perceptual PrinciplesMusic Perception, 19
-
R. Goldstone (1994)
An efficient method for obtaining similarity dataBehavior Research Methods, Instruments, & Computers, 26
-
F. Lerdahl (2001)
Tonal Pitch Space -
K. McMillen, D. Wessel, M. Wright (1994)
The ZIPI Music Parameter Description LanguageComputer Music Journal, 18
-
F. Moore (1988)
The Dysfunctions of MIDIComputer Music Journal, 12
-
Rimas Avizienis, A. Freed, Takahiko Suzuki, D. Wessel (2000)
Scalable Connectivity Processor for Computer Music Performance Systems, 2000
-
D. Wessel, P. Lavoie, Lee Boynton, Y. Orlarey (1987)
MIDI-LISP: A LISP-Based Programming Environment for MIDI on the Macintosh -
S. Pope (2000)
Music and Sound Processing in Squeak Using Siren -
R. Dannenberg (1989)
Real-time scheduling and computer accompaniment -
P. Cook (2001)
Principles for Designing Computer Music ControllersArXiv, abs/2010.06524
-
Brad Garton, D. Topper (1997)
RTcmix - Using CMIX in Real Time, 1997
-
M. Wright, A. Freed (1997)
Open SoundControl: A New Protocol for Communicating with Sound Synthesizers -
J. McCartney (2000)
A New, Flexible Framework for Audio and Image Synthesis, 2000
-
C. Roads (1996)
The Computer Music Tutorial -
D. Wessel, M. Wright, S. Khan (1998)
Preparation for Improvised Performance in Collaboration with a Khyal Singer, 1998
-
Stephen McAdams, Jean-Christophe Cunible (1992)
Perception of timbral analogies.Philosophical transactions of the Royal Society of London. Series B, Biological sciences, 336 1278
-
David Huron (1989)
Characterizing Musical Textures -
M. Wright, A. Freed, Ahm Lee, Timothy Madden, A. Momeni (2001)
Managing Complexity with Explicit Mapping of Gestures to Sound Control with OSC, 2001
-
A. Freed, Rimas Avizienis (2000)
A New Music Keyboard with Continuous Key-position Sensing and High-speed Communication, 2000
-
J. Rovan, M. Wanderley, S. Dubnov, P. Depalle (1997)
Instrumental Gestural Mapping Strategies as Expressivity Determinants in Computer Music Performance -
Richard Wernick, Harry Partch (1996)
Genesis of a Music -
Douglas Keislar (1987)
History and Principles of Microtonal KeyboardsComputer Music Journal, 11
-
M. Wright, D. Wessel (1998)
An Improvisation Environment for Generating Rhythmic Structures Based on North Indian "Tal" Patterns, 1998
-
M. Wright (1994)
A Comparison of MIDI and ZIPIComputer Music Journal, 18
-
David Zicarelli (1998)
An Extensible Real-time Signal Processing Environment for Max, 1998
-
A. Freed, Osman Isvan (2000)
Musical Applications of New, Multi-axis Guitar String Sensors, 2000
-
N. Orio, Norbert Schnell, M. Wanderley (2001)
Input Devices for Musical Expression: Borrowing Tools from HCIArXiv, abs/2010.01571
-
K. McMillen (1994)
ZIPI: Origins and MotivationsComputer Music Journal, 18
-
D. Wessel (1979)
Timbre Space as a Musical Control StructureComputer Music Journal, 3
-
J. Pressing (1990)
Cybernetic Issues in Interactive Performance SystemsComputer Music Journal, 14
-
G. Henning, H. Gaskell (1981)
Monaural phase sensitivity with Ronken’s paradigmJournal of the Acoustical Society of America, 70
-
(1999)
Playback. Musical composition. Paris: CNMAT and IRCAM. Retrieved from http://www.edmundcampion.com/project_playback -
D. Ronken (1970)
Monaural detection of a phase difference between clicks.The Journal of the Acoustical Society of America, 47 4
-
G. Lakoff, Mark Johnson (1999)
Philosophy in the flesh : the embodied mind and its challenge to Western thought -
B. Snyder (2000)
Music and memory -
A. Freed, Amar Chaudhary, Brian Davila (1997)
Operating Systems Latency Measurement and Analysis for Sound Synthesis and Processing Applications, 1997
-
(1992)
Effort and expression -
W. Mathieu (1997)
Harmonic Experience: Tonal Harmony from Its Natural Origins to Its Modern Expression -
Michael Lee, D. Wessel (1992)
Connectionist Models for Real-Time Control of Synthesis and COmpositional Algorithms, 1992
-
F. Déchelle, Riccardo Borghesi, Maurizio Cecco, E. Maggi, J. Rovan, Norbert Schnell (1999)
jMax: An Environment for Real-Time Musical ApplicationsComputer Music Journal, 23
-
G. Lakoff, R. Núñez (2002)
Where mathematics comes from : how the embodied mind brings mathematics into beingAmerican Mathematical Monthly, 109
-
D. Wessel, M. Wright (2002)
Problems and Prospects for Intimate Musical Control of ComputersComputer Music Journal, 26
-
Amar Chaudhary, A. Freed, M. Wright (1999)
An Open Architecture for Real-Time Audio Processing SoftwareJournal of The Audio Engineering Society
-
M. Buchholz (2002)
Review: George Lakoff & Rafael E. Núnez (2000). Where Mathematics Comes From—How the Embodied Mind brings Mathematics into Being, 3
- Publisher
- Springer International Publishing
- Copyright
- © Springer International Publishing AG 2017
- ISBN
- 978-3-319-47213-3
- Pages
- 15 –27
- DOI
- 10.1007/978-3-319-47214-0_2
- Publisher site
- See Chapter on Publisher Site
Abstract
[In this paper we describe our efforts towards the development of live performance computer-based musical instrumentation. Our design criteria include initial ease of use coupled with a long term potential for virtuosity, minimal and low variance latency, and clear and simple strategies for programming the relationship between gesture and musical result. We present custom controllers and unique adaptations of standard gestural interfaces, a programmable connectivity processor, a communications protocol called Open Sound Control (OSC), and a variety of metaphors for musical control. We further describe applications of our technology to a variety of real musical performances and directions for future research.]
Published: Mar 7, 2017
Keywords: Field Programmable Gate Array; Musical Instrument; Computer Music; Gestural Interface; Musical Process