We define a two-axis transparency framework that can be used as a predictor of the expressivity of a musical device. One axis is the player's transparency scale, while the other is the audience's transparency scale. Through consideration of both traditional instrumentation and new technology-driven interfaces, we explore the role that metaphor plays in developing expressive devices. Metaphor depends on a literature, which forms the basis for making transparent device mappings. We examine four examples of systems that use metaphor: Iamascope, Sound Sculpting, MetaMuse, and Glove-TalkII; and discuss implications on transparency and expressivity. We believe this theory provides a framework for design and evaluation of new human-machine and humanhuman interactions, including musical instruments.

Abstract: This interactive experience explores a novel group music instrument – the gudar (group music radar) which allows groups of people to improvise and compose music over time in new and engaging ways. It has an interface which non-musicians can use whilst still being enjoyable for more the musically adept. The interactive experience aims to break down the distinction between the music composer and the audience.

The topics covered by presenters at the workshop demonstrated a wide variety of advances in the creation, expression and interpretation of music and musical instrumentation. Here, we briefly summarize some of the participants' approaches to interface design and performance with alternative controllers that were discussed at the workshop. The complete selection of papers can be found at the workshop web site:

A general framework for producing formative audio feedback for gesture recognition is presented, including the dynamic and semantic aspects of gestures. The beliefs states are probability density functions conditioned on the trajectories of the observed variables. We describe example implementations of gesture recognition based on Hidden Markov Models and a dynamic programming recognition algorithm. Granular synthesis is used to present the audio display of the changing probabilities and observed states.

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Many novel instruments have been built in recent decades, but they rarely become popular or even get played at any degree of virtuosity. A new model of instrument design is emerging, where creators make instruments tailored to a performer or specific piece, making instruments even more specific. Modular software for synthesis and mapping along with standard human interface devices make this increasingly feasible. In addition, the performer’s body of technique could be modular as well, with musicians learning interfaces, mappings, and synthesizers as distinct ”modules ” of technique. This would allow musicians to play newly created instruments with some degree of existing skill. These modules of technique could exist separately from whole instruments, therefore allowing a shared body of technique to be developed, especially around software synthesizers, popular human interface devices, and the mappings between them. The design of software used for such instrument building can go a long way to furthering this approach. Some specific software design ideas are explored in the context of Pd with the aim of fostering the discussion and development of modular technique. 1.

Over the last century, composers have made increasingly ambitious experiments with musical time, but have been impeded in expressing more temporally-complex musical processes by the limitations of both music notations and human performers. In this paper, we describe a computer-based notation and gestural control system for independently manipulating the tempi of musical parts within a piece, at performance time. We describe how the problem was approached, drawing upon feedback and suggestions from consultations across multiple disciplines, seeking analogous problems in other fields. Throughout, our approach is guided and, ultimately, assessed by an established professional composer, who was able to interact with a working prototype of the system.