Advancements in Actuated Musical Instruments
This article presents recent developments in actuated musical instruments created by the authors, who also describe an ecosystemic model of actuated performance activities that blur traditional boundaries between the physical and virtual elements of musical interfaces. Actuated musical instruments a...
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Published in | Organised sound : an international journal of music technology Vol. 16; no. 2; pp. 154 - 165 |
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Main Authors | , , |
Format | Journal Article |
Language | English |
Published |
Cambridge, UK
Cambridge University Press
01.08.2011
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Subjects | |
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Abstract | This article presents recent developments in actuated musical instruments created by the authors, who also describe an ecosystemic model of actuated performance activities that blur traditional boundaries between the physical and virtual elements of musical interfaces. Actuated musical instruments are physical instruments that have been endowed with virtual qualities controlled by a computer in real-time but which are nevertheless tangible. These instruments provide intuitive and engaging new forms of interaction. They are different from traditional (acoustic) and fully automated (robotic) instruments in that they produce sound via vibrating element(s) that are co-manipulated by humans and electromechanical systems. We examine the possibilities that arise when such instruments are played in different performative environments and music-making scenarios, and we postulate that such designs may give rise to new methods of musical performance. The Haptic Drum, the Feedback Resonance Guitar, the Electromagnetically Prepared Piano, the Overtone Fiddle and Teleoperation with Robothands are described, along with musical examples and reflections on the emergent properties of the performance ecologies that these instruments enable. We look at some of the conceptual and perceptual issues introduced by actuated musical instruments, and finally we propose some directions in which such research may be headed in the future. |
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AbstractList | This article presents recent developments in actuated musical instruments created by the authors, who also describe an ecosystemic model of actuated performance activities that blur traditional boundaries between the physical and virtual elements of musical interfaces. Actuated musical instruments are physical instruments that have been endowed with virtual qualities controlled by a computer in real-time but which are nevertheless tangible. These instruments provide intuitive and engaging new forms of interaction. They are different from traditional (acoustic) and fully automated (robotic) instruments in that they produce sound via vibrating element(s) that are co-manipulated by humans and electromechanical systems. We examine the possibilities that arise when such instruments are played in different performative environments and music-making scenarios, and we postulate that such designs may give rise to new methods of musical performance. The Haptic Drum, the Feedback Resonance Guitar, the Electromagnetically Prepared Piano, the Overtone Fiddle and Teleoperation with Robothands are described, along with musical examples and reflections on the emergent properties of the performance ecologies that these instruments enable. We look at some of the conceptual and perceptual issues introduced by actuated musical instruments, and finally we propose some directions in which such research may be headed in the future. This article presents recent developments in actuated musical instruments created by the authors, who also describe an ecosystemic model of actuated performance activities that blur traditional boundaries between the physical and virtual elements of musical interfaces. Actuated musical instruments are physical instruments that have been endowed with virtual qualities controlled by a computer in real-time but which are nevertheless tangible. These instruments provide intuitive and engaging new forms of interaction. They are different from traditional (acoustic) and fully automated (robotic) instruments in that they produce sound via vibrating element(s) that are co-manipulated by humans and electromechanical systems. We examine the possibilities that arise when such instruments are played in different performative environments and music-making scenarios, and we postulate that such designs may give rise to new methods of musical performance. The Haptic Drum, the Feedback Resonance Guitar, the Electromagnetically Prepared Piano, the Overtone Fiddle and Teleoperation with Robothands are described, along with musical examples and reflections on the emergent properties of the performance ecologies that these instruments enable. We look at some of the conceptual and perceptual issues introduced by actuated musical instruments, and finally we propose some directions in which such research may be headed in the future. [PUBLICATION ABSTRACT] This article presents recent developments in actuated musical instruments created by the authors, who also describe an ecosystemic model of actuated performance activities that blur traditional boundaries between the physical and virtual elements of musical interfaces. Actuated musical instruments are physical instruments that have been endowed with virtual qualities controlled by a computer in real-time but which are nevertheless tangible . These instruments provide intuitive and engaging new forms of interaction. They are different from traditional (acoustic) and fully automated (robotic) instruments in that they produce sound via vibrating element(s) that are co-manipulated by humans and electromechanical systems. We examine the possibilities that arise when such instruments are played in different performative environments and music-making scenarios, and we postulate that such designs may give rise to new methods of musical performance. The Haptic Drum, the Feedback Resonance Guitar, the Electromagnetically Prepared Piano, the Overtone Fiddle and Teleoperation with Robothands are described, along with musical examples and reflections on the emergent properties of the performance ecologies that these instruments enable. We look at some of the conceptual and perceptual issues introduced by actuated musical instruments, and finally we propose some directions in which such research may be headed in the future. |
Author | Overholt, Dan Berdahl, Edgar Hamilton, Robert |
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References | S1355771811000100_ref19 Reich (S1355771811000100_ref28) 1974 van Driem (S1355771811000100_ref31) 2004 S1355771811000100_ref13 S1355771811000100_ref34 S1355771811000100_ref33 S1355771811000100_ref11 S1355771811000100_ref32 S1355771811000100_ref10 S1355771811000100_ref16 S1355771811000100_ref14 Collins (S1355771811000100_ref15) 2004 S1355771811000100_ref1 S1355771811000100_ref2 Cadoz (S1355771811000100_ref12) 1981; 59 S1355771811000100_ref3 S1355771811000100_ref4 Emerick (S1355771811000100_ref17) 2007 S1355771811000100_ref5 S1355771811000100_ref6 S1355771811000100_ref7 S1355771811000100_ref8 S1355771811000100_ref24 S1355771811000100_ref9 S1355771811000100_ref23 S1355771811000100_ref22 S1355771811000100_ref21 Waters (S1355771811000100_ref30) 2007 S1355771811000100_ref27 S1355771811000100_ref26 S1355771811000100_ref25 Sayer (S1355771811000100_ref29) 2007 S1355771811000100_ref20 |
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Title | Advancements in Actuated Musical Instruments |
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