By Alexander Refsum Jensenius, Michael J. Lyons
What is a musical tool? What are the musical tools of the long run? This anthology offers thirty papers chosen from the fifteen yr lengthy heritage of the overseas convention on New Interfaces for Musical Expression (NIME). NIME is a number one track know-how convention, and an immense venue for researchers and artists to offer and speak about their explorations of musical tools and technologies.
Each of the papers is via commentaries written by means of the unique authors and via top specialists. the quantity 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 a variety of papers offering new improvement structures and applied sciences, in addition to severe reflections, theoretical analyses and creative experiences.
The anthology is meant for novices who are looking to get an outline of modern advances in tune expertise. The ancient lines, meta-discussions and reflections can also be of curiosity for longtime NIME individuals. The booklet hence serves either as a survey of influential previous paintings and as a kick off point for brand spanking new and intriguing destiny developments.
Read Online or Download A NIME Reader: Fifteen Years of New Interfaces for Musical Expression PDF
Best acoustics & sound books
You’ve lately bought Cubase. You’re able to manage your house recording studio and eventually produce that album you’ve been conversing approximately. Now what? Your Cubase Studio presents an entire consultant to establishing your electronic recording studio with Cubase so that you can commence recording song straight away. It starts off with a basic creation to Cubase and electronic recording, optimizing your desktop to get the easiest sound, buying the ideal gear that matches your price range, and the fundamentals of acoustics.
Tuning, Timbre, Spectrum, Scale makes a speciality of perceptions of consonance and dissonance, and the way those are depending on timbre. This additionally pertains to musical scale: convinced timbres sound extra consonant in a few scales than others. Sensory consonance and the power to degree it have vital implications for the layout of audio units and for musical conception and research.
Audio Engineering a hundred and one is a true global advisor for beginning out within the recording undefined. in case you have the dream, the tips, the tune and the creativity yet do not know the place to begin, then this e-book is for you! jam-packed with functional suggestion on how one can navigate the recording global, from an writer with first-hand, real-life event, Audio Engineering a hundred and one can assist you achieve the fascinating, yet difficult and complicated, track undefined.
Whereas study on ultrasonics has been coated in previous volumes of the actual Acoustics sequence, Volumes 23 and 24 exhibit the profitable commercialization of units and tools bobbing up from study during this zone. those volumes will help in the method of bringing learn output into to the good thing about consumers.
Extra info for A NIME Reader: Fifteen Years of New Interfaces for Musical Expression
Acknowledgements Special thanks to Rimas Avizienis, Adrian Freed, and Takahiko Suzuki for their work on the connectivity processor and to Gibson Guitar, DIMI, and the France Berkeley Fund for their generous support. Unsolved Problems and Continuing Prospects for Intimate Musical Control of Computers Matthew Wright When we wrote this article in 2001 (and expanded it into a fuller article the following year (Wessel and Wright 2002)) there seemed to be a small community of people making music interactively with computer-based instruments of their own design, and as far as I could tell all of them were friends with David Wessel.
Perhaps if we could better capture and theorize the experiences of skilled practitioners as contributions to knowledge, then themes of performance, expertise, experience, artistry, and control could become more prominent to the betterment of both communities. Low entry fee with no ceiling on virtuosity, aka Low Floor High Ceiling (a phrase popularized by Seymour Papert that reached us via Brian Harvey), is perhaps the most-cited idea in this paper, though of course it is much easier to demonstrate the floor than the ceiling.
Computer Music Journal, 21(3), 38–49. Cook, P. R. (1997b). “Pico I,” for seashells and interactive electronics. In International Mathematica Symposium, Rovaniemi, Finland Cook, P. R. (2007). Principles for controlling computer music designers. Keynote talk, NIME 2007 Cook, P. R. (2009). Re-designing principles for computer music controllers: A case study of SqueezeVox Maggie. In Proceedings of the International Conference on New Interfaces for Musical Expression, Pittsburgh, PA. Cook, P. , & Trueman, D.
A NIME Reader: Fifteen Years of New Interfaces for Musical Expression by Alexander Refsum Jensenius, Michael J. Lyons