New Interfaces for Musical Expression must speak to the nature of ‘instrument’, that is, it must always be understood that the interface binds to a complex musical phenomenon....
A series of demonstrations of synthesized acappella songs based on an auditory morphing using STRAIGHT [5] will be presented. Singing voice data for morphing were extracted from t...
This paper describes an approach for playing expressive music, as it refers to a pianist's expressiveness, with a tapping-style interface. MIDI-formatted expressive performan...
This paper describes the design of an Electronic Sitar controller, a digitally modified version of Saraswati’s (the Hindu Goddess of Music) 19-stringed, pumpkin shelled, traditi...
Ajay Kapur, Ari J. Lazier, Philip Davidson, R. Sco...
The PebbleBox and the CrumbleBag are examples of a granular interaction paradigm, in which the manipulation of physical grains of arbitrary material becomes the basis for interact...
In this paper, we propose Thermoscore, a musical score form -that dynamically alters the temperature of the instrument/play er interface. We developed the first version of the The...
The choice of mapping strategies to effectively map controller variables to sound synthesis algorithms is examined. Specifically, we look at continuous mappings that have a geom...
Doug Van Nort, Marcelo M. Wanderley, Philippe Depa...
When envisaging new digital instruments, designers do not have to limit themselves to their sonic capabilities (which can be absolutely any), not even to their algorithmic power; ...
Although MIDI is often used for computer-based interactive music applications, its real-time performance is rarely quantified, despite concerns about whether it is capable of ade...
In this paper, I would like to introduce my experimental study of multimedia psychology. My initial focus of investigation is the interaction between perceptions of auditory and v...