By Alexander Refsum Jensenius, Michael J. Lyons
What is a musical software? What are the musical tools of the long run? This anthology offers thirty papers chosen from the fifteen yr lengthy heritage of the overseas convention on New Interfaces for Musical Expression (NIME). NIME is a number one song expertise convention, and a huge venue for researchers and artists to offer and talk about their explorations of musical tools and technologies.
Each of the papers is via commentaries written by way of the unique authors and via prime 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 quite a few papers proposing new improvement systems and applied sciences, in addition to serious reflections, theoretical analyses and inventive experiences.
The anthology is meant for rookies who are looking to get an summary of contemporary advances in tune expertise. The ancient strains, meta-discussions and reflections can be of curiosity for longtime NIME individuals. The booklet hence serves either as a survey of influential earlier paintings and as a kick off point for brand new and intriguing destiny developments.
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Additional resources for A NIME Reader: Fifteen Years of New Interfaces for Musical Expression
Much of this dysfunction is addressed by the Open Sound Control (OSC) protocol described below. 18 D. Wessel and M. Wright Many musical gestures are continuous functions of time and should be treated as such, for example, the position along the string of a finger on a violinist’s left hand. The new generation of software synthesis systems such as Max/MSP, SuperCollider, PD, and Open Sound World (OSW) provide for multi-rate signal processing. In these programming environments it is quite natural to treat gestures with a samplesynchronous signal processing approach.
Duda, R. (1995). The human-computer interface. National Science Foundation Grant #9527459. Levitin, D. , & Adams, R. L. (2002). Control parameters for musical instruments: A foundation for new mappings of gesture to sound. , & Wanderley, M. 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.
Low variation of latency is critical and we argue that the range of variation should not exceed 1 ms. Grace-note-generated timbres as in flams can be controlled by percussionists with temporal precision of less than 1 ms. This is accomplished by controlling the relative distance of the sticks from head during the stroke. Timbral changes in the flams begin to become audible when the variations in the time between the grace note and the primary note exceed 1 ms. Psychoacoustic experiments on temporal auditory acuity provide striking evidence for this criterion (Ronken 1970; Henning and Gaskell 1981).
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