A Framework for the Evaluation of Digital Musical Instruments

O’Modhrain, Sile

doi:10.1162/comj_a_00038

Cited by 82 publications

(56 citation statements)

References 9 publications

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“…One challenge in user-centered DMI design is that there are many potential stakeholders; the performer, the composer, the audience, the designer, and the manufacturer may each have different and sometimes contradictory perspectives on what constitutes a successful instrument (O'Modhrain 2011). For example, the easiest way to control a musical process may not be the one that gives the audience the clearest visual indication of cause and effect, the latter being highly important to a convincing performance (Schloss 2002).…”

Section: Musician-focused Designmentioning

confidence: 99%

“…Our primary purpose is not to specify how a DMI should be initially designed or evaluated, a topic covered in many excellent articles (Wanderley and Orio 2002;Jordà 2004;Cook 2009;Paine 2009;Gurevich and Fyans 2011;O'Modhrain 2011). Rather, we examine the process of bringing an instrument to a larger community of musicians, sometimes changing its design in the process.…”

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confidence: 99%

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The Problem of the Second Performer: Building a Community Around an Augmented Piano

McPherson

Kim

2012

Computer Music Journal

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Abstract:The design of a digital musical instrument is often informed by the needs of the first performance or composition. Following the initial performances, the designer frequently confronts the question of how to build a larger community of performers and composers around the instrument. Later musicians are likely to approach the instrument on different terms than those involved in the design process, so design decisions that promote a successful first performance will not necessarily translate to broader uptake. This article addresses the process of bringing an existing instrument to a wider musical community, including how musician feedback can be used to refine the instrument's design without compromising its identity. As a case study, the article presents the magnetic resonator piano, an electronically augmented acoustic grand piano that uses electromagnets to induce vibrations in the strings. After initial compositions and performances using the instrument, feedback from composers and performers guided refinements to the design, laying the groundwork for a collaborative project in which six composers wrote pieces for the instrument. The pieces exhibited a striking diversity of style and technique, including instrumental techniques never considered by the designer. The project, which culminated in two concert performances, demonstrates how a new instrument can acquire a community of musicians beyond those initially involved.Composers often speak of the problem of the second performance: Many ensembles commission and perform new works, but fewer offer chances for pieces premiered elsewhere to be heard a second time. In the field of digital musical instrument (DMI) design, we instead encounter the problem of the second performer: Once a new instrument has been built and the first performances have been given, how can the designer establish a continuing role for the instrument in the broader musical community? Very few new instruments have attracted a significant following, with the result that an instrument's designer is often its only performer and composer. Because designing an instrument is time-consuming, and many designers are constantly creating new instruments, even the most dedicated of designers will struggle to establish a musical presence for his or her creations. Sergi Jordà summarizes: "Many new

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Section: Musician-focused Designmentioning

confidence: 99%

mentioning

confidence: 99%

The Problem of the Second Performer: Building a Community Around an Augmented Piano

McPherson

Kim

2012

Computer Music Journal

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“…Competency in this domain, thus, is achieved by the mere accumulation of knowledge and its application in designs, whereas approaches for developing skilled performance are notoriously absent. The multiple reasons a↵ecting this issue are discussed in depth by O'Modhrain [31]. However, inspecting specific practices within the broader community may shed light on the existence of such learning structures.…”

Section: Nime As a Communitymentioning

confidence: 99%

2015: Fourteen Years of NIME: The Value and Meaning of ‘Community’ in Interactive Music Research

Marquez-Borbon

Stapleton

2017

A NIME Reader

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This paper examines the notion of community as commonly employed within NIME discourses. Our aim is to clarify and define the term through the community of practice framework. We argue that through its formal use and application, the notion of community becomes a significant space for the examination of emergent musical practices that could otherwise be overlooked. This paper defines community of practice, as originally developed in the social sciences by Lave and Wegener, and applies it within the NIME context through the examination of existing communities of practice such as the laptop performance community, laptop orchestras, as well as the Satellite CCRMA and Patchblocks communities.

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“…The data was analysed based on O'Modhrain's Framework for the evaluation of DMIs [16]. Using this, the data was searched for references to playability, enjoyment, robustness, in addition to accessibility and social interactions around the use of the technology.…”

Section: Data Collection and Ethicsmentioning

confidence: 99%

Creating Space for Facilitated Music Performance

Dickens¹,

Greenhalgh²,

Koleva³

2017

Proceedings of the 12th International Audio Mostly Conference on Augmented and Participatory Sound and Music Experiences

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Musical interactions have the potential to increase emotional well-being, self-confidence and self-motivation. However, the ability to actively participate in creative activities involving music performance has so far been difficult for users with complex disabilities.This paper discusses placing a technology probe, using gesture based musical controls, in an existing music technology project for users with complex disabilities (conditions which affect both cognitive and motor abilities of an individual). The focus is on understanding the needs of this user group in a participatory design approach for creative music technologies that allow for tailored accessibility.Outcomes from this research show that many multi-level social interactions surrounding the technology, users, audience, and any third party facilitators exist in the context of 'facilitated performance'. Results suggest that including facilitators in the design of Digital Musical Instruments (DMIs) could allow for improved accessibility for users with complex disabilities.

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A Framework for the Evaluation of Digital Musical Instruments

Cited by 82 publications

References 9 publications

The Problem of the Second Performer: Building a Community Around an Augmented Piano

The Problem of the Second Performer: Building a Community Around an Augmented Piano

2015: Fourteen Years of NIME: The Value and Meaning of ‘Community’ in Interactive Music Research

Creating Space for Facilitated Music Performance

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