Sensors are becoming increasingly important in interaction design. Authoring a sensor-based interaction comprises three steps: choosing and connecting the appropriate hardware, creating application logic, and specifying the relationship between sensor values and application logic. Recent research has successfully addressed the first two issues. However, linking sensor input data to application logic remains an exercise in patience and trial-and-error testing for most designers. This paper introduces techniques for authoring sensor-based interactions by demonstration. A combination of direct manipulation and pattern recognition techniques enables designers to control how demonstrated examples are generalized to interaction rules. This approach emphasizes design exploration by enabling very rapid iterative demonstrate-edit-review cycles. This paper describes the manifestation of these techniques in a design tool, Exemplar, and presents evaluations through a first-use lab study and a theoretical analysis using the Cognitive

This article presents FTM, a shared library and a set of modules extending the Max/MSP environment. It also gives a brief description of additional sets of modules based on FTM. The article particularly addresses the community

In this paper we present the augmented violin developed at IRCAM. This instrument is an acoustic violin with added sensing capabilities to measure the bow acceleration in realtime. We explain first the approach we developed to characterize bowing styles. Second, we describe the realtime implementation of the bowing style recognition system. Finally we describe an electro-acoustic music composition, Bogenlied, written for the augmented violin.

Abstract. This paper describes the design and implementation of a framework designed to aid collaborative development of a digital musical instrument mapping layer 1. The goal was to create a system that allows mapping between controller and sound parameters without requiring a high level of technical knowledge, and which needs minimal manual intervention for tasks such as configuring the network and assigning identifiers to devices. Ease of implementation was also considered, to encourage future developers of devices to adopt a compatible protocol. System development included the design of a decentralized network for the management of peer-to-peer data connections using OpenSound Control. Example implementations were constructed using several different programming languages and environments. A graphical user interface for dynamically creating, modifying, and destroying mappings between control data streams and synthesis parameters is also presented.

Supervised learning methods have long been used to allow musical interface designers to generate new mappings by example. We propose a method for harnessing machine learning algorithms within a radically interactive paradigm, in which the designer may repeatedly generate examples, train a learner, evaluate outcomes, and modify parameters in real-time within a single software environment. We describe our meta-instrument, the Wekinator, which allows a user to engage in on-the-fly learning using arbitrary control modalities and sound synthesis environments. We provide details regarding the system implementation and discuss our experiences using the Wekinator for experimentation and performance.

This article describes a set of modules for Max/MSP for real-time sound analysis and synthesis combining various models, representations and timing paradigms. Gabor provides a unified framework for granular synthesis, PSOLA, phase vocoder, additive synthesis and other STFT techniques. Gabor’s processing scheme allows for the treatment of atomic sound particles at arbitrary rates and instants. Gabor is based on FTM, an extension of Max/MSP, introducing complex data structures such as matrices and sequences to the Max data flow programming paradigm. Most of the signal processing operators of the Gabor modules handle vector and matrix representations closely related to SDIF sound description formats. 1.1. Background 1.

We present in this paper a complete gestural interface built to support music pedagogy. The development of this prototype concerned both hardware and software components: a small wireless sensor interface including accelerometers and gyroscopes, and an analysis system enabling gesture following and recognition. A first set of experiments was conducted with teenagers in a music theory class. The preliminary results were encouraging concerning the suitability of these developments in music education.

This paper presents the Library of Maps 1 toolbox to aid in the mapping of control parameters to sound synthesis parameters via strategies that result from a geometric representation of control. A set of objects have been created for Max/MSP and Jitter that allow the user to map arbitrary high-dimensional data from control to sound parameter space, and to visualize this through the use of Jitter and OpenGL. The mapping implementations are discussed and related to existing work.

The role of mapping as determinant of expressivity is examined. Issues surround the mapping of real-time control parameters to sound synthesis parameters are discussed, including several representations of the problem. Finally a study is presented which examines the effect of mapping on musical expressivity, on the ability to navigate sonic exploration and on visual feedback. 1.

A weekly seminar consisting of seven composers and one computer scientist was convened for the purpose of exploring questions surrounding how technology can support aspects of the computer music composition process. The composers were introduced to an existing interactive software system for creating new musical interfaces and compositions, which they used throughout the seminar. The group engaged in a user-centered design process to critically evaluate and improve this software. Through documentation of the experience and analysis of composers ’ responses to a questionnaire following the seminar, we achieved a richer understanding of how technology can support composers ’ modes of working and goals in the process of computer music interface design and composition. This work also resulted in an improved compositional software system and progress toward several new musical compositions and instruments.