In this paper we outline the fundamentals for a tactile feedback system to be used in conjunction with openair computer music performance devices. Some underlying physiological and perceptual mechanisms of haptics are examined, some currently available open-air controllers are reviewed, and previous technologies and experiments regarding haptic/tactile feedback are surveyed. Our VR/TX system is proposed as a solution for adding tactile feedback to open-air controllers; experiments show that the VR/TX vibrotactile stimulators provide invaluable perceptually-significant tactile feedback when used in conjunction with an open-air music controller. A typology of tactile sound events is also described, as well as the notion of a tactile simulation event (TSE). 1.

In this paper, we describe a multi-level approach for the extraction of instrumental gesture parameters taken from the characteristics of the signal captured by a microphone and basedonthe knowledge of physical mechanisms taking place on the instrument. We also explore the relationships between some features of timbre and gesture parameters, taking as a starting point for the exploration the timbre descriptors commonlyusedbyprofessionalmusicians when they verbally describe the sounds they produce with their instrument. Finally, we present how this multi-level approach can be applied to the study of the timbre space of the classical guitar.

The basic argument of this paper is that until recently theatrical performances involving human and computer actors were not possible due to the lack of appropriate computational models for action representation, recognition, and generation. This paper surveys and classifies some recent experiments in computerized performances, and uses this classification as a framework to establish the importance of action as a foundation of computer theater. It also argues that computer theater has many characteristics which qualify it as a good domain for AI and computer vision research on action. Finally, an example of a script for a computer theater performance is provided and analyzed in terms of scientific and technological challenges. Action is the basis of theater 1 and, as such, needs to be fully incorporated in whatever model a computer is running during a computer-based theatrical performance. I believe the lack of good models for action is the basic reason for the relative absence of ex...

In the majority of existing work in music information retrieval (MIR) the user interacts with the system using standard desktop components such as the keyboard, mouse or sometimes microphone input. It is our belief that moving away from the desktop to more physically tangible ways of interacting can lead to novel ways of thinking about MIR. In this paper, we report on our work in utilizing new non-standard interfaces for MIR purposes. One of the most important but frequently neglected ways of characterizing and retrieving music is through rhythmic information. We concentrate on rhythmic information both as user input and as means for retrieval. Algorithms and experiments for rhythm-based information retrieval of music, drum loops and indian tabla thekas are described. This work targets expert users such as DJs and musicians which tend to be more curious about new technologies and therefore can serve as catalysts for accelerating the adoption of MIR techniques. In addition, we describe how the proposed rhythm-based interfaces can assist in the annotation and preservation of perfomance practice.

The author discusses research in music cognition and education indicating that novices and untrained students perceive and learn music in a fundamentally different manner than do expert musicians. Based on these studies, he suggests implementing high-level musical percepts and constructionist learning schemes in new expressive musical instruments that would provide thoughtful and joyful musical activities for novices and experts alike. The author describes several instruments---the Musical Playpen, Fireflies and Squeezables---that he has developed in an effort to provide novices with access to rich and meaningful musical experiences and recounts observations and interviews of subjects playing these instruments.

This paper describes The Vocal Augmentation and Manipulation Prosthesis (VAMP) a gesture-based wearable controller for live-time vocal performance. This controller allows a singer to capture and manipulate single notes that he or she sings, using a gestural vocabulary developed from that of choral conducting. By drawing from a familiar gestural vocabulary, this controller and the associated mappings can be more intuitive and expressive for both performer and audience.

The aim of this work is to provide jugglers with gestural control of music. This is based on the willing to control music by recycling mastered gestures generated by another art. Therefore we propose the use of a gestural acquisition system based on the processing of the electromyographic signal.

The Epipe is a novel electronic woodwind controller with continuous tonehole coverage sensing, an initial design for which was introduced at NIME '03. Since then, we have successfully completed two fully operational prototypes. This short paper describes some of the issues encountered during the design and construction of this controller. It also details our own early experiences and impressions of the interface as well as its technical specifications.

minds musically

As human movement is an incredibly rich mode of communication and expression, performance artists working with digital media often use performers ' movement and gestures to control and shape that digital media as part of a theatrical, choreographic, or musical performance. In my own work, I have found that strong, semantically-meaningful mappings between gesture and sound or visuals are necessary to create compelling performance interactions. However, the existing systems for developing mappings between incoming data streams and output media have extremely low-level concepts of “gesture. ” The actual programming process focuses on low-level sensor data, such as the voltage values of a particular sensor, which limits the user in his or her thinking process, requires users to have significant programming experience, and loses the expressive, meaningful, and metaphor-rich content of the movement. To remedy these difficulties, I have created a new framework and development environment for gestural control of media in rehearsal and performance, allowing users to create