Hyperreal Instruments: Bridging VR and Digital Fabrication to Facilitate New Forms of Musical Expression

Çamcı, Anıl; Granzow, John

doi:10.1162/lmj_a_01056

Cited by 6 publications

(3 citation statements)

References 6 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Control of VRMIs is often based on non-specialized input devices provided with a given VR or visual display system, the majority of which are not capable of supporting the subtle control schemes necessary to play traditional musical instruments. Furthermore, the vast majority of VRMIs are not equipped with haptic feedback mechanisms (for notable exceptions see e.g., [33], [77], [112], [159]). Moving forward, the Musical XR community will need to explore not only how to best leverage readymade hardware solutions in Musical XR projects, but also how to implement new hardware platforms that are idiomatic to musical applications.…”

Section: )mentioning

confidence: 99%

Music in Extended Realities

2021

View full text Add to dashboard Cite

The intersection between music and Extended Reality (XR) has grown significantly over the past twenty years, amounting to an established area of research today. The use of XR technologies represents a fundamental paradigm shift for various musical contexts as they disrupt traditional notions of musical interaction by enabling performers and audiences to interact musically with virtual objects, agents, and environments. This article both surveys and expands upon the knowledge accumulated in existing research in this area to build a foundation for future works that bring together Music and XR. To this end, we created a freely available dataset of 260 publications in this space and conducted an in-depth analysis covering 199 works in the last decade. We conducted this analysis using a list of conceptual dimensions belonging to technical, artistic, perceptual and methodological domains. This review of the literature is complemented with a set of interviews with domain experts with the goal of establishing a definition for the emergent field of Musical XR, i.e., the field of music in Extended Realities. Based on the results of the conducted review, a research agenda for the field is proposed.

show abstract

Section: )mentioning

confidence: 99%

Music in Extended Realities

2021

View full text Add to dashboard Cite

show abstract

“…Literature [11] examined musical compositions created by the fusion of piano performance and computer systems, where the iterative changes in notes were presented in graphical form, and found that the style of the compositions created tended to be simplistic. Literature [12] proposes combining virtual reality and digital fabrication techniques in an attempt to apply them to the design of new music interfaces. It analyzes and predicts the patterns and possibilities of these applications.…”

Section: Introductionmentioning

confidence: 99%

Computer Simulation of Piano Tones and Design of Virtual Piano System

Zhang,

Guo,

Pan

et al. 2024

Applied Mathematics and Nonlinear Sciences

View full text Add to dashboard Cite

With the advancement of contemporary technology, there is an increasing demand for sophisticated tone libraries in intelligent and digital pianos. This paper introduces a virtual piano system based on timbre simulation. Drawing upon the articulation principles of the piano, a mathematical model is formulated to derive the equation governing string vibrations. This equation facilitates a comprehensive analysis of the components constituting piano timbre and establishes a model for synthesizing these timbres using a frequency envelope algorithm. The short-time Fourier transform (STFT) is utilized to extract features from the synthesized timbre and to accomplish its digital simulation. Subsequently, the integration of the piano’s timbre features with computer programming facilitates the comprehensive design of the virtual piano system. Performance testing and evaluation of the system reveal promising results: the detection rate for each musical piece exceeds 90%, with an average detection rate of 94.81% across ten pieces and an average deviation (Mean-D) of 3.35 in the scoring of 100 music samples. This research contributes to the flexibility in timbre editing, enhances the expressiveness of intelligent and digital pianos, and aims to elevate the music industry to new heights.

show abstract

“…The composer's adoption of digital technology resulted in smoother sounding transitions between samples, as heard on later collections such as Hyperrealism (Creshevsky 2003) and Hyperrealist Music, 2011(Creshevsky 2015. Additionally, Creshevsky has released albums on John Zorn's 1 Although, the term has some coinage is discussions on music that either use (Çamci and Granzow 2019) or is in (Ivnescu 2015) new media. Luc Ferrari has also used the term to refer to his Presque Riens works (Caux 2012), although he does so with reference to the painterly style rather than to any philosophical concept.…”

Section: Introductionmentioning

confidence: 99%

Musical Hyperrealism: Exploring Noah Creshevsky’s compositions through Jean Baudrillard’s ideas

Windleburn¹

2021

Org. Sound

View full text Add to dashboard Cite

While a familiar term in art history, philosophy and cultural studies, ‘hyperrealism’ is rarely applied to music. This is despite Noah Creshevsky’s use of the term to describe his unique compositional process and aesthetic approach. A composer of electroacoustic music and founder of the Brooklyn College Center for Computer Music, Creshevsky has described his musical hyperrealism as a ‘language constructed from sounds that are found in our shared environment (“realism”), handled in ways that are somehow exaggerated or excessive (“hyper”)’. In this article, I summarise the ideas behind Creshevsky’s hyperreal music and compare them to philosopher Jean Baudrillard’s theorisation of the hyperreal. Numerous similarities between Creshevsky and Baudrillard’s ideas will be made evident. The first half of this article focuses on Creshevsky’s sampling of sounds as ‘simulacra’ and how the interweaving textures and melodies that Creshevsky makes out of these samples are similar to ‘simulations’. In the article’s second half, Creshevsky’s creation of disembodied ‘superperformers’ is addressed and related to Baudrillard’s transhumanism. Towards the end of the article, Creshevsky’s aesthetic more broadly and what he calls ‘hyperdrama’ are linked to Baudrillard’s ‘transaesthetics’, before a concluding note addressing Baudrillard and Creshevsky’s different dispositions towards hyperrealism.

show abstract

Hyperreal Instruments: Bridging VR and Digital Fabrication to Facilitate New Forms of Musical Expression

Cited by 6 publications

References 6 publications

Music in Extended Realities

Music in Extended Realities

Computer Simulation of Piano Tones and Design of Virtual Piano System

Musical Hyperrealism: Exploring Noah Creshevsky’s compositions through Jean Baudrillard’s ideas

Contact Info

Product

Resources

About