Related papers: The MATRIX: A Novel Controller for Musical Express…
Intuitive control of synthesis processes is an ongoing challenge within the domain of auditory perception and cognition. Previous works on sound modelling combined with psychophysical tests have enabled our team to develop a synthesizer…
The Accordiatron is a new MIDI controller for real-time performance based on the paradigm of a conventional squeeze box or concertina. It translates the gestures of a performer to the standard communication protocol of MIDI, allowing for…
This paper reports on work in progress on a finger-based tactile I/O device for musical interaction. Central to the device is the ability to set up cyclical relationships between tactile input and output. A direct practical application of…
This paper introduces a novel interface for experiencing music through haptic impulses to the palm of the hand. It presents a practical implementation of the system exploring the realm of musical haptics through the translation of MIDI data…
This paper presents a device implementing a closed tactile loop for musical interaction, based on a small freely held magnet which serves as the medium for both input and output. The component parts as well as an example of its programmable…
This paper introduces LIMITER, a gamified digital musical instrument for harnessing and performing microtonal and justly intonated sounds. While microtonality in Western music remains a niche and esoteric system that can be difficult both…
In this paper we describe our efforts towards the development of live performance computer-based musical instrumentation. Our design criteria include initial ease of use coupled with a long term potential for virtuosity, minimal and low…
In this paper, we present Mixels, programmable magnetic pixels that can be rapidly fabricated using an electromagnetic printhead mounted on an off-the-shelve 3-axis CNC machine. The ability to program magnetic material pixel-wise with…
Synthesizers are powerful tools that allow musicians to create dynamic and original sounds. Existing commercial interfaces for synthesizers typically require musicians to interact with complex low-level parameters or to manage large…
This paper proposes a new research direction for the large family of instrumental musical interfaces where sound is generated using digital granular synthesis, and where interaction and control involve the (fine) operation of stiff, flat…
Musical expression requires control of both what notes are played, and how they are performed. Conventional audio synthesizers provide detailed expressive controls, but at the cost of realism. Black-box neural audio synthesis and…
The NIME conference traditionally focuses on interfaces for music and musical expression. In this paper we reverse this tradition to ask, can interfaces developed for music be successfully appropriated to non-musical applications? To help…
Musicians produce individualized, expressive performances by manipulating parameters such as dynamics, tempo and articulation. This manipulation of expressive parameters is informed by elements of score information such as pitch, meter, and…
Musicians and nonmusicians alike use rhythmic sound gestures, such as tapping and beatboxing, to express drum patterns. While these gestures effectively communicate musical ideas, realizing these ideas as fully-produced drum recordings can…
Expressive music performance rendering involves interpreting symbolic scores with variations in timing, dynamics, articulation, and instrument-specific techniques, resulting in performances that capture musical can emotional intent. We…
Our research explores the development and application of musical agents, human-in-the-loop generative AI systems designed to support music performance and improvisation within co-creative spaces. We introduce MACAT and MACataRT, two…
We describe a proof-of-principle implementation of a system for drawing melodies that abstracts away from a note-level input representation via melodic contours. The aim is to allow users to express their musical intentions without…
In this study, we explore the representation mapping from the domain of visual arts to the domain of music, with which we can use visual arts as an effective handle to control music generation. Unlike most studies in multimodal…
We introduce Composer's Assistant 2, a system for interactive human-computer composition in the REAPER digital audio workstation. Our work upgrades the Composer's Assistant system (which performs multi-track infilling of symbolic music at…
This paper explores the idea of using virtual textural terrains as a means of generating haptic profiles for force-feedback controllers. This approach breaks from the para-digm established within audio-haptic research over the last few…