Mapping performer parameters to synthesis engines

Organised Sound

Volumn 7, Issue 2, 2002, Pages 97-108

  Hunt, Andy ^a   Wanderley, Marcelo M ^b  

^a UNIVERSITY OF YORK   (United Kingdom)

^b MCGILL UNIVERSITY   (Canada)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 85014782979     PISSN: 13557718     EISSN: 14698153     Source Type: Journal    
DOI: 10.1017/S1355771802002030     Document Type: Article

References (35)

1. Abbotson, M., Abbotson, R., Kirk, R., Hunt, A., and Cleaton, A. 1994. Computer music in the service of music therapy: the MIDIGRID and MIDICREATOR systems. Medical Engineering Physics 16(May): 253.
2. Bowler, I., Purvis, A., Manning, P., and Bailey, N. 1990. On mapping N articulation onto M synthesiser- control parameters. Proc. of the 1990 Int. Computer Music Conf., pp. 181—184. San Francisco, CA: International Computer Music Association.
3. Cadoz, C., and Wanderley, M. M. 2000. Gesture-music. In M. Wanderley and M. Battier (eds.) Trends in Gestural Control of Music. Ircam - Centre Pompidou.
4. Choi, I., Bargar, R., and Goudeseune, C. 1995. A manifold interface for a high dimensional control space. Proc. of the 1995 Int. Computer Music Conf., pp. 385–92. San Francisco, CA: International Computer Music Association.
5. Egozy, E. 1995. Deriving Musical Control Features from a Real-time Timbre Analysis of the Clarinet. Master’s thesis, Massachusetts Institute of Technology.
6. Fels, S., and Hinton, G. 1995. Glove Talk II: an adaptative gesture-to-formant interface. Proc. Cont. on Human Factors in Computing Systems (CHF95), pp. 456–63.
7. Garnett, G., and Goudeseune, C. 1999. Performance factors in control of high-dimensional spaces. Proc. of the 1999 Int. Computer Music Conf., pp. 268–71. San Francisco, CA: International Computer Music Association.
8. Goldstein, M. 1998. Gestural coherence and musical interaction design. Proc. of the 1998 IEEE Int. Conf. on Systems, Man and Cybernetics (SMC’98), pp. 1076-1079.
9. Hunt, A. 1999. Radical User Interfaces for Real-time Musical Control. D.Phil. thesis, University of York, UK.
10. Hunt, A., and Kirk, R. 2000. Mapping strategies for musical performance. In M. Wanderley and M. Battier (eds.) Trends in Gestural Control of Music. Ircam - Centre Pompidou.
11. Hunt, A., Kirk, R., Abbotson, M., and Abbotson, R. 2000. Music therapy and electronic technology. Proc. EuroMicro Conference 2000, vol. II, pp. 362–7.
12. Hunt, A., and Wanderley, M. M. (eds.) 2000. Mapping of control variables to musical variables. Interactive Systems and Instrument Design in Music Working Group. http://www.igmusic.org
13. Hunt, A., Wanderley, M. M., and Kirk, R. 2000. Towards a model for instrumental mapping in expert musical interaction. Proc. of the 2000 Int. Computer Music Conf., pp. 209–11. San Francisco, CA: International Computer Music Association.
14. Hunt, R., Kirk, R., Orton, R., and Merrison, B. 1998. A generic model for compositional approaches to audiovisual media. Organised Sound 3(3): 199–209. Jacob, R., Sibert, I., McFarlane, D., and Mullen, M. P. 1994. Integrality and separability of input devices. ACM Transactions on Human-Computer Interaction 1(1): 3–26.
15. Lee, M., and Wessel, D. 1992. Connectionist models for real-time control of synthesis and compositional algorithms. Proc. of the 1992 Int. Computer Music Conf., pp. 277–80. San Francisco, CA: International Computer Music Association.
16. Metois, E. 1996. Musical Sound Information - Musical Gestures and Embedding Systems. Ph.D. thesis, Massachusetts Institute of Technology.
17. Modler, P. 2000. Neural networks for mapping gestures to sound synthesis. In M. Wanderley and M. Battier (eds.) Trends in Gestural Control of Music. Ircam - Centre Pom-pidou.
18. Mulder, A., Fels, S., and Mase, K. 1997. Empty-handed gesture analysis in Max/FTS. In A. Camurri (ed.) Kansei, The Technology of Emotion. Proc. of the AIMI Int. Workshop, Genoa: Associazione di Informatica Musicale Italiana, 3–4 October 1997.
19. Oppenheim, D., Anderson, T., and Kirk, R. 1993. Perceptual parameters - their specification, scoring and control within two software composition systems. In Proc. of the 1993 Int. Computer Music Conf. San Francisco, CA: International Computer Music Association.
20. Orio, N., Schnell, N., and Wanderley, M. M. 2001. Input devices for musical expression: borrowing tools from HCI. Presented at the Workshop New Interfaces for Musical Expression, ACMCHI 2001.
21. Pennycook, B. 1985. Computer-music interfaces: a survey. Computing Surveys 17(2): 267–89.
22. Pennycook, B. 1991. The PRAESCIO Series: composition driven interactive software. Computer Music Journal 15(3).
23. RIMM. 2001. The Real-time Interactive MultiMedia project, http://www.york.ac.uk/res/rimm/
24. Rovan. J.B. 1997. Continuities for Clarinet and Electronics.
25. Rovan, J.B., Wanderley, M. M., Dubnov, S., and Depalle, P. 1997. Instrumental gestural mapping strategies as expressivity determinants in computer music performance. In A. Camurri (ed.) Kansei, The Technology of Emotion. Proc. of the AIMI Int. Workshop, pp. 68–73. Genoa: Associazione di Informatica Musicale Italiana.
26. Ryan, J. 1991. Some remarks on musical instrument design at STEIM. Contemporary Music Review 6(1): 3–17.
27. Ryan, J. 1992. Effort and expression. Proc. of the 1992 Int. Computer Music Conf., pp. 414–16. San Francisco, International Computer Music Association.
28. Vertegaal, R., and Bonis, E. 1994. ISEE: an intuitive sound editing environment. Computer Music Journal 18(2): 212–29.
29. Wanderley, M. M. (ed.) 2000. Interactive Systems and Instrument Design in Music Workgroup. http://www.igmusic.org
30. Wanderley, M. M. 2001. Performer-Instrument Interaction: Applications to Gestural Control of Sound Synthesis. Ph.D. thesis, University Paris VI.
31. Wanderley, M. M., and Depalle, P. 1999. Controle gestuel de la synthese sonore. In H. Vinet and F. Delalande (eds.) Interfaces homme-machine et creation musicale, pp. 145–63. Paris: Hermps Science Publications.
32. Wanderley, M.M., Schnell, N., and Rovan, J.B. 1998. Escher - modeling and performing composed instruments in real-time. Proc. of the 1998 IEEE Int. Conf. on Systems, Man and Cybernetics (SMC’98)
33. Wessel, D. 1979. Timbre space as a musical control structure. Computer Music Journal 3(2): 45–52.
34. Wessel, D. 1991. Instruments that learn, refined controllers, and source model loudspeakers. Computer Music Journal 15(4): 82–6. Winkler, T. 1995. Making motion musical: gestural mapping strategies for interactive computer music. Proc. of the 1995 Int. Computer Music Conf., pp. 261–4. San Francisco, CA: International Computer Music Association.
35. Winkler, T. 1998. Composing Interactive Music. Techniques and Ideas using Max. Cambridge, MA: The MIT Press.