A NIME reader : fifteen years of new interfaces for musical expression

What is a musical instrument? What are the musical instruments of the future? This anthology presents thirty papers selected from the fifteen year long history of the International Conference on New Interfaces for Musical Expression (NIME). NIME is a leading music technology conference, and an impor...

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Bibliographic Details
Other Authors Jensenius, Alexander Refsum (Editor), Lyons, Michael J. (Editor)
Format Electronic eBook
LanguageEnglish
Published Cham, Switzerland : Springer, 2017.
SeriesCurrent research in systematic musicology ; 3.
Subjects
Computer music.
Electronic music.
Music > Computer network resources.
elektronické knihy
electronic books
Online AccessFull text
ISBN9783319472140
9783319472133
Physical Description1 online resource

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Table of Contents:
  • Preface; Who Is the Book For?; The Selection Process; Peer-Commentary Process; How Can NIME Continue to Be Relevant?; Acknowledgements; Contents; About the Editors; 2001: Principles for Designing Computer Music Controllers; 1 Introduction; 2 Winds: Cook/Morrill Trumpet 1986
  • 89 HIRN 1991; 3 Voice: SPASM 1988
  • 94; 4 PhISEM Shaker Percussion: 1996
  • 1999; 5 Foot, Hand, Kitchen Wear/Ware 1997
  • 2000; 6 Violins/Strings: BoSSA, the Nukelele 1998
  • 99; 7 The Voice (Again): SqueezeVox 2000; 8 Future Work and Conclusions; 9 Demonstrations; References.
  • 2001: Problems and Prospects for Intimate Musical Control of Computers1 Introduction; 2 Low Entry Fee with No Ceiling on Virtuosity; 3 Latency Requirements for Control Intimacy; 4 Discrete Event Versus Continuous Control; 5 Open Sound Control (OSC); 6 A Programmable Connectivity Processor; 7 Musical Control Structures for Standard Gestural Controllers; 8 Some Custom Controllers; 9 Metaphors for Musical Control; 9.1 Drag and Drop; 9.2 Scrubbing and Its Variants; 9.3 Dipping; References; 2002: The Importance of Parameter Mapping in Electronic Instrument Design.
  • 1 Electronic Instruments and the Mapping Layer2 The Importance of Mapping; 3 Informal Observations ; 3.1 The Accidental Theremin ; 3.2 Two Sliders and Two Sound Parameters ; 4 Mapping Experiments; 4.1 Complex Mapping for Arbitrary Interfaces; 4.2 Focusing on the Effect of Mapping Strategies; 4.3 Learning from Acoustic Instruments; 5 Models and Guidelines for Mapping; 5.1 One-to-one Mappings
  • Multiple Layers; 6 Future Discussion of Mapping; 7 Conclusions; References; 2002: Multimodal Interaction in Music Using the Electromyogram and Relative Position Sensing; 1 Introduction.
  • 2 Review of Multimodal Interaction3 The Electromyogram (EMG)/Position Sensing System; 4 Applying Multimodel Interaction Principles to Musical Control; 4.1 Music as Use Case for Multimodal HCI; 4.2 Complementarity; 4.3 Bidirectional Complementarity; 5 Requirements for Multimodal Musical Interaction; 5.1 Efficiency of Articulation and Communication; 5.2 Multitasking Versus Multimodal; 5.3 Defining a Successful Multimodal Interface; 5.4 Intuition; 5.5 Expansion Versus Fusion; 6 Application to Live Performance; 7 Conclusions; References; 2002: The Plank: Designing a Simple Haptic Controller.
  • 1 Introduction1.1 Scanned Synthesis; 1.2 Haptics; 2 Haptic Illusions; 2.1 Slope; 2.2 Clutch; 3 Hardware; 3.1 Motors; 3.2 Microcontroller; 3.3 Sensing and Orthogonal Force Control; 4 Effects; 4.1 Table of Forces: Terrain; 4.2 Motion: Dynamics; 4.3 Friction; 5 Progress and Plans; References; 2003: Contexts of Collaborative Musical Experiences; 1 Introduction; 1.1 Accessible Music; 1.2 Balancing Complexity and Expressivity; 1.3 Mapping and Control Issues; 2 Contexts of Collaborative Interfaces; 2.1 Focus; 2.2 Location; 2.3 Media; 2.4 Scalability; 2.5 Player Interaction; 2.6 Musical Range/Notes.

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