USING A DATA GLOVE AS MUSICAL INSTRUMENT
Frederic Robinson, Cedric Spindler, Volker Böhm, Erik Oña
Following a call for clear movement-sound relationships in motion-controlled digital musical instruments (DMIs), we developed a sound design concept and a DMI implementation with a focus on transparency through intuitive control metaphors. In order to benefit from the listener’s and performer’s natural understanding of physical processes around them, we use gestures with strong physical associations as control metaphors, which are then mapped to sound modules specifically designed to represent these associations sonically. The required motion data can be captured by any low-latency sensor device worn on the hand or wrist, that has an inertial measurement unit with six degrees of freedom. A dimension space analysis was applied on the current implementation in order to compare it to existing DMIs and illustrate its characteristics. In conclusion, our approach resulted in a DMI with strong results in transparency, intuitive control metaphors, and a coherent audio-visual link.
Preprint PDF
Online proceedings of Audio Mostly 2015, at ACM Digital Library
MLA
Robinson, Frederic, et al. "Gestural control in electronic music performance: sound design based on the 'striking' and 'bowing' movement metaphors." Proceedings of the Audio Mostly 2015 on Interaction With Sound. ACM, 2015.
APA
Robinson, F., Spindler, C., Böhm, V., & Oña, E. (2015, October). Gestural control in electronic music performance: sound design based on the 'striking' and 'bowing' movement metaphors. In Proceedings of the Audio Mostly 2015 on Interaction With Sound (p. 26). ACM.
BibTeX (download)
@inproceedings{robinson2015gestural,
Title = {Gestural Control in Electronic Music Performance: Sound Design Based on the `Striking' and `Bowing' Movement Metaphors},
Author = {Robinson, Frederic and Spindler, Cedric and B{\"o}hm, Volker and O{\~n}a, Erik},
Booktitle = {Proceedings of the Audio Mostly 2015 on Interaction With Sound},
Year = {2015},
Location = {Thessaloniki, Greece},
Series = {AM '15},
Articleno = {26},
Pages = {26:1--26:6},
Numpages = {6},
Keywords = {DMI., Gestural control, musical interface},
Publisher = {ACM},
Acmid = {2814901},
Doi = {10.1145/2814895.2814901},
Isbn = {978-1-4503-3896-7}}
Frederic Robinson
This thesis presents, explains, and discusses the three main categories of Claude Cadoz' Instrumental Gesture Typology. The applicability of the categories is examined on the basis of acoustical instrument case studies, with the conclusion that the limits of the framework are quickly reached during in-depth inspection due to ambiguity. However, for the purpose of using the typology as a reference point for the analysis of electronic instrumental interaction, the framework proves to be useful. Analysing the gestures performed on a range of electronic instruments shows that two of the categories, modulation and selection, are well established and refined, whereas the third, excitation, often shows need for further development both in terms of utilized sensor technology and complexity of interaction design. A number of promising electronic instruments are presented. Furthermore, the thesis suggests possible causes for the underdevelopment of excitation gesture, mentioning commonly used sensors, as well as trends in the commercial music industry. Ultimately, a range of concepts in electronic instrument design is presented and the benefits of including excitation gesture within these concepts are discussed. They include the notion of energy and effort, transparency of interaction, constraints, and audience perception.
MLA
Robinson, Frederic "The concept of excitation gesture in electronic instrument design" Masters Thesis Basel, 10. May 2016
APA
Robinson, F. (2016, May). The concept of excitation gesture in electronic instrument design
BibTeX
@mastersthesis{robinson2016excitationgesture,
Author = {Frederic Robinson},
School = {Hochschule f{\"u}r Musik Basel},
Title = {The concept of excitation gesture in electronic instrument design},
Year = {2016}}