Computer-music interfaces: a survey

Pennycook, Bruce W.

doi:10.1145/4468.4470

Cited by 26 publications

(20 citation statements)

References 47 publications

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“…As early as 1985, Pennycook [15] offered a discussion of interface concepts and design issues. Pressing [18] proposed a set of fundamental design principles for computer-music interfaces.…”

Section: Examining Musical Devicesmentioning

confidence: 99%

2005: Towards a Dimension Space for Musical Devices

et al. 2017

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While several researchers have grappled with the problem of comparing musical devices across performance, installation, and related contexts, no methodology yet exists for producing holistic, informative visualizations for these devices. Drawing on existing research in performance interaction, human-computer interaction, and design space analysis, the authors propose a dimension space representation that can be adapted for visually displaying musical devices. This paper illustrates one possible application of the dimension space to existing performance and interaction systems, revealing its usefulness both in exposing patterns across existing musical devices and aiding in the design of new ones. KeywordsHuman-Computer Interaction, Design Space Analysis, New Interfaces for Musical Expression EXAMINING MUSICAL DEVICESMusical devices can take varied forms, including interactive installations, digital musical instruments, and augmented instruments. Trying to make sense of this wide variability, several researchers have proposed frameworks for classifying the various systems.As early as 1985, Pennycook [15] offered a discussion of interface concepts and design issues. Pressing [18] proposed a set of fundamental design principles for computer-music interfaces. His exhaustive treatment of the topic laid the groundwork for further research on device characterization.Bongers [3] characterized musical interactions as belonging to one of three modes: Performer-System interaction, such as a performer playing an instrument, System-Audience interaction, such as those commonly found at interactive sound installations, and Performer-System-Audience interaction, which describes interactive systems in which both artist and audience interact in real time.Wanderley et al.[24] discussed two approaches to classification of musical devices, including instruments and inPermission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. To copy otherwise, to republish, to post on servers or to redistribute to lists, requires prior specific permission and/or a fee. stallations: the technological perspective and the semantical perspective. Jordà [7] characterizes instruments in terms of music output complexity, control input complexity and performer freedom. Focusing on interactive installations, Winkler [25] discussed digital, physical, social, and personal factors that should be considered in their design. In a similar way, Blaine and Fels [1] studied design features of collaborative musical systems, with the particular goal of elucidating design issues endemic to systems for novice players.While these various approaches contribute insight to the problem of musical device classification, most did not provide a visual representation, which could facilitate device comparison and design. One exception is [24], who proposed...

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“…As early as 1985, Pennycook [15] offered a discussion of interface concepts and design issues. Pressing [18] proposed a set of fundamental design principles for computer-music interfaces.…”

Section: Examining Musical Devicesmentioning

confidence: 99%

2005: Towards a Dimension Space for Musical Devices

et al. 2017

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“…Three different types of human computer interactions are commonly used in music notation: 1) Music Notepad's 2D gestural input using pen-based interaction 10 ; 2) Personal Composer's MIDI music transcriptions using WIMP user interfaces 11 ; 3) Real-time transcription of music directly from instruments 4,5 . Each of these interactions specifically targets certain group(s) of users.…”

Section: The Mental Model Of Composersmentioning

confidence: 99%

MusicFlow: an interactive music composition system

Tan

Koh

et al. 2010

SPIE Proceedings

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Music notation has evolved to the point in which music scores can be digitalized to give composers a different dimension of music composition. Traditional method of music notation using pen and paper requires much time and effort especially during reviewing and editing of hand written music scores. On the other hand of the spectrum, computerizing the entire music composition process can potentially reduce the workload; however, previous approaches in digitizing music notation suffer from the overwhelming functions and the lack of human touch. In this paper, we designed, implemented, and evaluated a multi-touch application called Musicflow, which allows for automatic transcription of composers' music into digital music scores through one's fingertips. To facilitate natural, efficient interaction, MusicFlow supports many multi-touch gestures such as music notation, editing and playing back for reviewing. In addition, Musicflow includes a collaborative teaching tool which further enhances music education by engaging both the teacher and students actively on a multi-touch table. Our initial evaluation indicates that MusicFlow is intuitive to use and effective for music composition.

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“…Ariza's comprehensive repository of software tools and research resources for algorithmic composition 6 constitutes a good starting point (Ariza, 2005a) to explore this ecosystem, as well as algorithmic composition in general. Earlier surveys (such as Pennycook, 1985 andPope, 1986) are also useful for understanding the evolution of the field, especially the evolution of graphical tools to aid composers.…”

Section: Introducing Algorithmic Compositionmentioning

confidence: 99%

AI Methods in Algorithmic Composition: A Comprehensive Survey

Fernández

Vico

2013

jair

191

108

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Algorithmic composition is the partial or total automation of the process of music composition by using computers. Since the 1950s, different computational techniques related to Artificial Intelligence have been used for algorithmic composition, including grammatical representations, probabilistic methods, neural networks, symbolic rule-based systems, constraint programming and evolutionary algorithms. This survey aims to be a comprehensive account of research on algorithmic composition, presenting a thorough view of the field for researchers in Artificial Intelligence.

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Computer-music interfaces: a survey

Cited by 26 publications

References 47 publications

2005: Towards a Dimension Space for Musical Devices

2005: Towards a Dimension Space for Musical Devices

MusicFlow: an interactive music composition system

AI Methods in Algorithmic Composition: A Comprehensive Survey

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