Interactivity of Digital Musical Instruments: Implications of Classifying Musical Instruments on Basic Music Research

Kim, Jin Hyun; Seifert, Uwe

doi:10.1007/978-981-10-2951-6_7

Cited by 5 publications

(2 citation statements)

References 10 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…time, a performer of the electronics is required in order to evaluate the code and to control all the parameters that can be changed live, contributing in a personal way to the musical result, just as any other kind of instrumental performer would do playing her instrument. Finally, since the electronics is actually producing sounds, it can also be understood as an instrument itself, or at least as an extension of the acoustic instrument, whose sound is processed [7,9]. Nevertheless, besides any effort of fitting the electronics in one role or another, I think it is worth noting how it could be intended as an extra layer of interference.…”

Section: The Role Of the Electronics In The Altered Systemmentioning

confidence: 99%

(Re-) Presenting an altered interactive system. On et ego, a piece for classical guitar, two piezoelectric microphones and electronics

Fantechi¹

2020

EAI Endorsed Transactions on Creative Technologies

View full text Add to dashboard Cite

INTRODUCTION: Starting from et ego, a piece for classical guitar and electronics, this paper aims to introduce the notion of the interactive system as a tool to understand the musical activity developed by a composer and/or performer in relationship with an instrument and a score. OBJECTIVES: The primary objective is to show how the equilibrium within this interactive system can be affected by the introduction of an external technology. METHODS: In et ego, the external technology is represented by two piezoelectric contact microphones placed on the soundboard of the guitar, which creates an interference within the usual performer/instrument relationship. The performer has to interact with these microphones and with a differently amplified classical guitar: the piezoelectric microphones make very tiny sounds audible and emphasize percussive sounds while feeding the patch for the live electronics. Consequently, the composer enacts different strategies to understand and represent this enriched vocabulary. RESULTS: The use of piezoelectric microphones allows for working with specific gestures and extremely delicate sounds, enriching the vocabulary of sound material available within the compositional process. The use of notation becomes part of this process of comprehension and translation of different aural images. CONCLUSION: The interdependencies between the agents of the system, constantly challenged by different levels of interferences, reveal the perceptual and recursive nature of the compositional labour.

show abstract

Section: The Role Of the Electronics In The Altered Systemmentioning

confidence: 99%

(Re-) Presenting an altered interactive system. On et ego, a piece for classical guitar, two piezoelectric microphones and electronics

Fantechi¹

2020

EAI Endorsed Transactions on Creative Technologies

View full text Add to dashboard Cite

show abstract

“…Considering the age of Kahn's article, this is an understandable notion, as most digital music technologies at the time were studio simulators, not instruments for live performance. This has changed, and in a more recent work Kim and Seifert (2017) argue for a classification that would include analysing the degree of interactivity and agency in new instruments, and they present a taxonomy of interactivity, depending on how autonomous the agency of the instrument is. Similarly, Zénouda (2012) presents an organology aimed at audio games, introducing a typology based on what kind of musical control the player has (and note the similarities in playing a game and playing an instrument, if indeed there should be a distinction).…”

mentioning

confidence: 99%

Musical Organics: A Heterarchical Approach to Digital Organology

Magnusson

2017

Journal of New Music Research

View full text Add to dashboard Cite

Gaining a comprehensive understanding and overview of new musical technologies is fraught with difficulties. They are made of digital materials of such diverse origins and nature, that they do not fit comfortably into traditional organological classifications. This article traces the history of musical instrument classifications relevant to the understanding of new digital instruments, and proposes an alternative method to the centuries-old tree-structure of downwards divisions. The proposed musical organics is a multidimensional, heterarchical, and organic approach to the analysis and classification of both traditional and new musical instruments that suits the rhizomatic nature of their material design and technical origins. Outlines of a hypothetical organological informatics retrieval system are also presented.

show abstract

Bildungstheoretische Strukturanalysen von hybriden, digital-materiellen MusikmachDingen

Donner,

Jörissen

2023

Handbuch Digitale Medien Und Methoden

View full text Add to dashboard Cite

Interactivity of Digital Musical Instruments: Implications of Classifying Musical Instruments on Basic Music Research

Cited by 5 publications

References 10 publications

(Re-) Presenting an altered interactive system. On et ego, a piece for classical guitar, two piezoelectric microphones and electronics

(Re-) Presenting an altered interactive system. On et ego, a piece for classical guitar, two piezoelectric microphones and electronics

Musical Organics: A Heterarchical Approach to Digital Organology

Bildungstheoretische Strukturanalysen von hybriden, digital-materiellen MusikmachDingen

Contact Info

Product

Resources

About