By Alexander Refsum Jensenius, Michael J. Lyons
What is a musical software? What are the musical tools of the long run? This anthology provides thirty papers chosen from the fifteen 12 months lengthy heritage of the overseas convention on New Interfaces for Musical Expression (NIME). NIME is a number one tune expertise convention, and a big venue for researchers and artists to provide and speak about their explorations of musical tools and technologies.
Each of the papers is by way of commentaries written by way of the unique authors and by means of major specialists. the amount covers vital advancements within the box, together with the earliest experiences of tools just like the reacTable, Overtone Violin, Pebblebox, and Plank. There also are various papers offering new improvement systems and applied sciences, in addition to serious reflections, theoretical analyses and creative experiences.
The anthology is meant for newbies who are looking to get an outline of contemporary advances in tune know-how. The ancient lines, meta-discussions and reflections can also be of curiosity for longtime NIME members. The publication therefore serves either as a survey of influential earlier paintings and as a kick off point for brand spanking new and interesting destiny developments.
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Additional info for A NIME Reader: Fifteen Years of New Interfaces for Musical Expression
M. (2007). The T-Stick: From musical interface to musical instrument. In Proceedings of the International Conference on New Interfaces for Musical Expression (pp. 66–69). New York, NY. Morrill, D. (1994). Works for saxophone. Compact Disc, Centaur Records CRC, 2214. , & Cook, P. R. (1989). Hardware, software, and compositional tools for a real-time improvised solo trumpet work. In Proceedings of the International Computer Music Conference. , & Wanderley, M. M. (2001). Input devices for musical expression: Borrowing tools from HCI.
Wright Fig. 1 Conceptual framework for NIME research and development like the development or not of a repertoire for the instrument are beyond the scope of this paper. Here we will concentrate on factors such as ease of use, potential for development of skill, reactive behavior, and coherence of the cognitive model for control. In Fig. 1 we provide a conceptual framework for our controller research and development. Our human performer has intentions to produce a certain musical result. These intentions are communicated to the body’s sensorimotor system (“motor program”).
9 Demonstrations During the workshop, the PhISEM controllers, the JavaMug, the TapShoe, the Nukelele, and the SqueezeVox will be demonstrated. 1 Acknowledgements Specific thanks to Dexter Morrill, Dan Trueman, Bob Adams, and Colby Leider. html. 10 P. Cook collaborations. This work was funded by CCRMA and the CCRMA Industrial Affiliates Program, Interval Research, Intel, and the Arial Foundation. Author Commentary: NIME: 15 years Later. Wow! Perry Cook What a run it’s been. I could never have imagined that this paper might become one of my most cited and downloaded publications, but I guess it makes sense for a variety of reasons.
A NIME Reader: Fifteen Years of New Interfaces for Musical Expression by Alexander Refsum Jensenius, Michael J. Lyons