New interfaces for musical expression

Abstract

The rapid evolution of electronics, digital media, advanced materials, and other areas of technology, is opening up unprecedented opportunities for musical interface inventors and designers. The possibilities afforded by these new technologies carry with them the challenges of a complex and often confusing array of choices for musical composers and performers. New musical technologies are at least partly responsible for the current explosion of new musical forms, some of which are controversial and challenge traditional definitions of music. Alternative musical controllers, currently the leading edge of the ongoing dialogue between technology and musical culture, involve many of the issues covered at past CHI meetings. This workshop brings together interface experts interested in musical controllers and musicians and composers involved in the development of new musical interfaces.

Interactive Experience in the Digital Age

“…Chap. 8 ("The Network Unveiled: Evaluating Intercultural Musical Interaction"), Mills and Beilharz 2014 ), in micro-creativity we are interested in new forms of music making in collective art experiences which extend over longer periods of time and may not require highly skilled, virtuosic performances, as illustrated by some of the developments in the fi eld of New Interfaces for Musical Expression (NIME; Poupyrev et al 2001 ). For example, Ocarina (Wang 2009 ), and Daisyphone (Bryan-Kinns 2004 ) are mobile phone Apps for social music making.…”

Music and Human-Computer Interaction

“…Xambó et al (2013), in Chap. 14 ("Video Analysis for Evaluating Music Interaction: Musical Tabletops") of this book, note that as NIME developed: an analysis of the NIME conference proceedings (Stowell et al 2008) shows that since the beginning of the conference in 2001 (Poupyrev et al 2001), few of the papers have applied HCI methods thoroughly to evaluate new music instruments.…”

“…In sound and music computing, the evaluation of new interfaces for music is considered a novel field of research: an analysis of the NIME conference proceedings (Stowell et al 2008) shows that since the beginning of the conference in 2001 (Poupyrev et al 2001), few of the papers have applied HCI methods thoroughly to evaluate new music instruments. However, the benefits of adapting HCI evaluation to these novel interfaces for music may benefit both the designers who can improve the interface design, and the musicians who can discover or expand on the possibilities of the evaluated tool .…”

Sig Nime

“…Advances in digital audio technologies have led to a situation where computers play a significant role in most music production and performance [3,6]. Digital technologies offer unprecedented opportunities for the creation and manipulation of sound, however the flexibility of these new technologies implies a bewildering array of choices.…”

“…It is natural to seek to design interfaces which allow the computer to be played expressively in a fashion suited for human bodies and brains. More than a decade ago several of us held a workshop on New Interfaces for Musical Expression [6] at CHI'01, with the aim of discussing "how to play the computer" while exploring connections with the better established field of human-computer interaction. The workshop germinated an annual international conference that annually attracts several hundred participants.…”