By Alexander Refsum Jensenius, Michael J. Lyons

ISBN-10: 3319472135

ISBN-13: 9783319472133

ISBN-10: 3319472143

ISBN-13: 9783319472140

What is a musical tool? What are the musical tools of the longer term? This anthology provides thirty papers chosen from the fifteen yr lengthy historical past of the foreign convention on New Interfaces for Musical Expression (NIME). NIME is a number one track know-how convention, and a massive venue for researchers and artists to give and speak about their explorations of musical tools and technologies.

Each of the papers is by way of commentaries written by means of the unique authors and via prime specialists. the amount covers vital advancements within the box, together with the earliest stories of tools just like the reacTable, Overtone Violin, Pebblebox, and Plank. There also are a number of papers offering new improvement structures and applied sciences, in addition to serious reflections, theoretical analyses and inventive experiences.

The anthology is meant for rookies who are looking to get an outline of contemporary advances in track expertise. The historic lines, meta-discussions and reflections can also be of curiosity for longtime NIME members. The ebook therefore serves either as a survey of influential earlier paintings and as a place to begin for brand new and interesting destiny developments.

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Extra info for A NIME Reader: Fifteen Years of New Interfaces for Musical Expression

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The case in mind is Joe Malloch’s t-Stick (Malloch and Wanderley 2007), who in collaboration with composer/performer D. com). I also take principles #10 and #11 (“New algorithms suggest new controllers” and “New controllers suggest new algorithms”) with a grain of salt, as I believe that they underplay the idea importance of mapping (between controller outputs and algorithm inputs). g. Hunt et al. (2002)), leading to interesting instruments. Furthermore, not all instrument designers are proficient in sound design and might just want to use algorithms they are familiar with, even when using different controllers (and conversely).

Note that this is also an example of the “Smart instruments are often not smart” principle, in that the instrument doesn’t change at all, but rather trains the user to use more gentle and subtle manipulations of the sensors. ) over the surface of a small table. ” 6 Violins/Strings: BoSSA, the Nukelele 1998–99 Stringed instruments have a rich historical musical tradition. They also have a rich tradition of electronic interfaces, both commercially and experimentally with many electrified, MIDI, and pure digital violins and guitars.

Construct controller proxies (functional GUIs) (labeled 22, should be 23) So one additional (personal) principle that I would add has to do with doublechecking the numbering of lists in papers and sequels. Another principle might be that we never know where a piece of work, or publication, or small workshop as an adjunct to a larger conference, might lead. The ACM/CHI New Interfaces for Musical Expression workshop turned into something bigger than any of us might have dreamed. I’m really happy to have been a part of the NIME history (so far).

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A NIME Reader: Fifteen Years of New Interfaces for Musical Expression by Alexander Refsum Jensenius, Michael J. Lyons


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