Control parameters for musical instruments: A foundation for new mappings of gesture to sound

Organised Sound

Volumn 7, Issue 2, 2002, Pages 171-189

  Levitin, Daniel J ^a   McAdams, Stephen ^b   Adams, Robert L ^c  

^a MCGILL UNIVERSITY   (Canada)

^b IRCAM   (France)

^c Centre for Interdisciplinary Research   (Canada)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 85013316679     PISSN: 13557718     EISSN: 14698153     Source Type: Journal    
DOI: 10.1017/S135577180200208X     Document Type: Article

References (66)

1. Adams, R. L., Brook, M. B., Eichenseer, J. W., Goldstein, M. H., and Smith, G. M. 1999. Electronic Musical Instrument. United States of America: Interval Research Corp, Patent number 6,005,181.
2. Adams, R. L., Brook, M. B., Eichenseer, J. W., and Smith, G. M. (Levitin, D. J., ed.). 1996. The Stick. Technical Report, IRC 1996–033. Palo Alto, CA: Interval Research Corporation.
3. Bonnet, M., Guiard, Y., Requin, J., and Semjen, A. 1994. Mecanismes generaux de la motricite. In M. Richelle (ed.) Traite de Psychologie Experimentale. Presses Universit-aires de France.
4. Boulanger, R., and Mathews, M. V. 1997. The 1997 Mathews Radio-Baton & improvisation modes. In Proc. of the 1997 Int. Computer Music Conf., Thessaloniki, Greece. San Francisco: International Computer Music Association.
5. Bregman, A. S. 1990. Auditory Scene Analysis. Cambridge, MA: MIT Press.
6. Bregman, A. S., and Rousseau, L. 1991. Auditory intensity changes can cue perception of transformation, accompaniment or replacement. Bulletin of the Psychonomic Society 29: 476(A).
7. Buchla, D. 2002. www.buchla.com Buxton, W. A. S. 1987. There’s more to interaction than meets the eye: Some issues in manual input. In R. M. Baecker and W. A. S. Buxton (eds.) Readings in HCI: A Multidisciplinary Approach. San Mateo, CA: Morgan Kaufman Publishers.
8. Buxton, W. A. S. 1995. Touch, gesture & marking. In R. M. Baecker, J. Grudin, W. A. S. Buxton and S. Greenberg (eds.) Readings in Human Computer Interaction: Toward the Year 2000. San Francisco: Morgan Kaufmann Publishers.
9. Cadoz, C. 1988. Instrumental gesture and musical composition. In Proc. of the 1988 Int. Computer Music Conf., Den Haag, Netherlands. San Francisco: International Computer Music Association.
10. Cadoz, C., Luciani, A., and Florens, J. 1984. Responsive input devices and sound synthesis by simulation of instrumental mechanisms: The Cordis system. Computer Music Journal 8(3): 60–73.
11. Chamberlin, H. A., Jr. 1976. Experimental Fourier series universal tone generator. Journal of the Audio Engineering Society 24(4): 271–6.
12. Chowning, J. 1973. The synthesis of complex audio spectra by means of frequency modulation. Journal of the Audio Engineering Society 21: 526–34.
13. Cook, P. R. 1999. Music, Cognition, and Computerized Sound. Cambridge, MA: MIT Press.
14. Cook, P. R. 2001. Principles for designing computer music controllers. Paper presented at the NIME Workshop, Chi, Seattle, WA, April 1–2.
15. Cook, P. R. 2002. derStick: A controller by geeks, for geeks. Unpublished manuscript.
16. Cycling74. 2002. MAX-MSP. http://www.cycling74.com/products/dlmaxmsp.html
17. Dawson, M. R. 1991. The how and why of what went where in apparent motion: Modeling solutions to the motion correspondence problem. Psychological Review 98(4): 569–603.
18. Dennett, D. C. 1991. Consciousness Explained. Boston: Little, Brown and Company.
19. DiGiugno, D. 1976. A 256 digital oscillator bank. In Proc. of the 1976 Int. Computer Music Conf., Cambridge, MA. San Francisco: International Computer Music Association.
20. Fitts, P. M. 1954. The information capacity of the human motor system in controlling the amplitude of movement. Journal of Experimental Psychology 47: 381–91.
21. Fitts, P. M., and Posner, M. I. 1967. Human Performance. Belmont, CA: Brooks/Cole.
22. Grey, J. M. 1975. An Exploration of Musical Timbre using Computer-based Techniques for Analysis, Synthesis and Perceptual Scaling. Unpublished Ph.D. thesis, Center for Computer Research in Music and Acoustics, Stanford University.
23. Grey, J. M. 1977. Multidimensional perceptual scaling of musical timbres. Journal of the Acoustical Society of America, 61(5): 1,270-7.
24. Hiller, L., and Ruiz, P. 1971. Synthesizing musical sounds by solving the wave equation for vibrating objects: Part 1. Journal of the Audio Engineering Society 19(6): 462–70.
25. Hiller, L., and Ruiz, P. 1971. Synthesizing musical sounds by solving the wave equation for vibrating objects: Part 2. Journal of the Audio Engineering Society 19(7): 542–50. Hunt, A., Wanderley, M. M., and Kirk, R. 2000. Towards a model for instrumental mapping in expert musical interaction. Paper presented at the International Computer Music Conference, Berlin.
26. Kantowitz, B. H., and Sorkin, R. D. 1983. Human Factors: Understanding People-System Relationships. New York: John Wiley & Sons.
27. Keele, S. W. 1973. Attention and Human Performance. Pacific Palisades: Goodyear Publishing.
28. Kolb, B., and Whishaw, I. Q. 1990. Fundamentals of Human Neuropsychology (3rd edn). New York: Freeman.
29. Kurtenback, G., and Hulteen, E. A. 1990. Gestures. In The Art of Human-Computer Interface Design. Reading, MA: Addison-Wesley.
30. Lee, M., and Wessel, D. 1992. Connectionist models for real-time control of synthesis and compositional algorithms. Proc. of the 1991 Int. Computer Music Conf., pp. 277–80, Montreal, QC, Canada. San Francisco: International Computer Music Association.
31. Levitin, D. J., and Adams, R. L. 1998. Computer-Interaction Design and Controllers: Creating Meaningful Experience. Technical Report, IRC 1998–005. Palo Alto: Interval Research Corporation.
32. Levitin, D. J., Robson, D., Smith, G., and O’Sullivan, D. 1996. El Podiomo - The Multi-Object Podium: A Search for Better Handles for Digital Audio. Technical report, IRC 1996–025. Palo Alto: Interval Research Corporation.
33. Markison, R. E. 1990. Treatment of musical hands: Redesign of the interface. Hand Clinics 6(3): 525-44.
34. Marrin-Nakra, T. 2000. Inside the Conductor's Jacket: Analysis, Interpretation and Musical Synthesis of Expressive Gestures. Unpublished Ph.D. thesis, MIT, Cambridge, MA.
35. Mathews, M. V. 1963. The digital computer as a musical instrument. Science 142(11): 553–7.
36. Mathews, M. V. 1991. The radio baton and conductor program, or: Pitch, the most important and least expressive part of music. Computer Music Journal 15(4): 37–46.
37. Mathews, M. V., and Pierce, J. R. 1989. Current Directions in Computer Music Research. Cambridge, MA: MIT Press.
38. McIntyre, M. E., Schuymacher, R. T., and Woodhouse, J. 1983. On the oscillations of musical instruments. Journal of the Acoustical Society of America 74(5): 1,325-45.
39. MIDI. 1984. MIDI Specifications 1.0. http://www.midi.org
40. Miller, G. A. 1956. The magical number seven plus or minus two: Some limits on our capacity for processing information. Psychological Review 63: 81–97.
41. Mulder, A. G. E., Fels, S. S., and Mase, K. 1997. Mapping virtual object manipulation to sound variation. In T. Rai and R. Basset (eds.) IPSJ SIG Notes 97(122): 63–68.
42. Norman, D. A. 1988. The Design of Everyday Things. New York: Doubleday.
43. Palmer, S. E. 2000. Vision: From Photons to Phenomenology. Cambridge, MA: MIT Press.
44. Paradiso, J. 1997. Electronic music interfaces: new ways to play. IEEE Spectrum 34(12): 18–30.
45. Pierce, J. R. 1983. The Science of Musical Sound. New York: Scientific American Books/Freeman.
46. Puckette, M. 1991. Combining event and signal processing in the MAX graphical programming environment. Computer Music Journal 15(3): 68–77. Rich, R. 1991. Buchla lightening MIDI controller. Electronic Musician 7(10): 102–8.
47. Risset, J.-C., and Mathews, M. V. 1969. Analysis of musical-instrument tones. Physics Today 29(2): 23–29.
48. Roads, C. 1996. The Computer Music Tutorial. Cambridge, MA: MIT Press.
49. Roads, C., and Strawn, J. 1985. Foundations of Computer Music. Cambridge, MA: MIT Press.
50. Sachs, C., and Hornbostel, E. M. 1961. Systematik der Musikinstrumente/Classification of musical instruments. Galpin Society Journal 14: 3–29.
51. Saldanha, E. L., and Corso, J. F. 1964. Timbre cues and the identification of musical instruments. Journal of the Acoustical Society of America 36: 2,021-126.
52. Schaeffer, P. 1966. Traite des objets musicaux. Paris: Editions du Seuil.
53. Shepard, R. N. 1994. Perceptual-cognitive universals as reflections of the world. Psychonomic Bulletin & Review 1(1): 2–28.
54. Shepard, R. N. 1995. Mental Universals: Toward a twenty-first century science of mind. In R. L. Solso and D. W. Massaro (eds.) The Science of the Mind: 2001 and Beyond, pp. 50–61. New York: Oxford University Press.
55. Smith, G. M., Goldstein, M. H., Eichenseer, J. W., Brook, M. B., and Adams, R. L. 2000. System and Method for Controlling a Music Synthesizer. United States of America: Interval Research Corp, Patent number 6,018,118.
56. Smith, J. O. III. 1992. Physical modeling using digital waveguides. Computer Music Journal 16(4): 74–91.
57. Smyth, T., and Smith, J. O. III. 2001. Applications of bioacoustics in physical nmodeling and the creation of new musical instruments. In Proc. of ISMA 2001, Int. Symposium on Musical Acoustics, Perugia, Italy.
58. Smyth, T., and Smith, J. O. III. 2002. Creating sustained tones with the cicada’s rapid sequential buckling mechanism. In Proc. of the 2002 Conf. on New Instruments for Musical Expression (NIME), Dublin, Ireland.
59. Stumpf, C. 1926. Die Sprachlaute, Experimentell-phonetische Untersuchungen, p. 374. Berlin: Springer.
60. Taylor, C. A. 1992. Exploring Music: the Science and Technology of Tones and Tunes. Bristol, UK; Philadelphia, PA: Institute of Physics Publishing.
61. Verplank, W., Mathews, M.V., and Shaw, R. 2000. Scanned Synthesis. In Proc. of the 2000 Int. Computer Music Conf., Berlin, Germany. San Francisco: International Computer Music Association.
62. Vertegaal, R., and Eaglestone, B. 1996. Comparison of input devices in an ISEE direct timbre manipulation task. Interacting with Computers 8(1): 13–30.
63. Wanderley, M. M. 2001, September 2001. Gestural control of music. Paper presented at the Int. Workshop on Human Supervision and Control in Engineering and Music, Kassel, Germany, September.
64. Wanderley, M. M. 2001. Performer-Instrument Interaction: Applications to Gestural control of Sound Synthesis. Unpublished Ph.D. thesis, Universite Pierre et Marie Curie, Paris VI, Paris.
65. Wanderley, M.M. and Orio, N. 2002. Evaluation of input devices for musical expression: Borrowing tools from HCI. Computer Music Journal 26(3): 62–76. Wertheimer 1923/1938. Laws of organization in perceptual forms. In W. D. Ellis (ed.) A Source Book of Gestalt Psychology. London: Rutledge & Kegan Paul.
66. Wessel, D. 1979. Timbre space as a musical control structure. Computer Music Journal 3(2): 32–45. Winkler, T. 1995. Making motion musical: Gesture mapping strategies for interactive computer music. Paper presented at the Int. Computer Music Conf, Banff, Canada.