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Soundscape: building connection between digital musicians and their audience

Published: 28 November 2017 Publication History

Abstract

Musical expression is a combination of the instruments, how the instruments are used to create the music, and the physical gestures of the performer. The experience of the audience is influenced by these factors. In many digital music performances, musical expression may be disassociated with the music that is produced due to the nature of the interactions between the musician and the technology interfaces used in the creation and performance of that music. Soundscape is a Digital Music Interface consisting of a large-scale stretch fabric interface where the performance consists of the combination of: physical movements of the musician; the sounds produced as a response to these movements; and, graphics projected onto the fabric interface. Through this combination, Soundscape seeks to establish a connection between a digital musician and their audience.

References

[1]
Florent Berthaut, Mark Marshall, Sriram Subramanian, and Martin Hachet. 2013. Rouages: Revealing the mechanisms of digital musical instruments to the audience. In New Interfaces for Musical Expression, 6--pages. Retrieved August 18, 2017 from https://hal.inria.fr/hal-00807049/
[2]
Christopher Dobrian and Daniel Koppelman. 2006. The'E'in NIME: musical expression with new computer interfaces. In Proceedings of the 2006 conference on New interfaces for musical expression, 277--282. Retrieved from http://dl.acm.org/citation.cfm?id=1142283
[3]
Michael Gurevich and Jeffrey Trevi�o. 2007. Expression and its discontents: toward an ecology of musical creation. In Proceedings of the 7th international conference on New interfaces for musical expression, 106--111. Retrieved from http://dl.acm.org/citation.cfm?id=1279759
[4]
Mark T. Marshall, Peter Bennett, Mike Fraser, and Sriram Subramanian. 2012. Emotional response as a measure of liveliness in new musical instrument performance. Retrieved from http://www.cs.bris.ac.uk/Publications/Papers/2001542.pdf
[5]
Kathryn Roulston, Peter Jutras, and Seon Joo Kim. 2015. Adult perspectives of learning musical instruments. International Journal of Music Education 33, 3: 325--335.
[6]
UQ MozART - Home. Retrieved August 18, 2017 from https://uqmozart.github.io/
[7]
Cinimod Studio. Retrieved August 18, 2017 from http://www.cinimodstudio.com
[8]
Reactable - MTG - Music Technology Group (UPF). Retrieved August 18, 2017 from https://www.upf.edu/web/mtg/reactable

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cover image ACM Other conferences
OzCHI '17: Proceedings of the 29th Australian Conference on Computer-Human Interaction
November 2017
678 pages
ISBN:9781450353793
DOI:10.1145/3152771
Permission to make digital or hard copies of part or all of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for third-party components of this work must be honored. For all other uses, contact the Owner/Author.

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Association for Computing Machinery

New York, NY, United States

Publication History

Published: 28 November 2017

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OzCHI '17
OzCHI '17: 29th Australian Conference on Human-Computer Interaction
November 28 - December 1, 2017
Queensland, Brisbane, Australia

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OzCHI '17 Paper Acceptance Rate 74 of 157 submissions, 47%;
Overall Acceptance Rate 362 of 729 submissions, 50%

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