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Publisher: Association for Computing Machinery
Languages: English
Types: Other
Subjects: M1
This paper reports on a survey conducted in the autumn of 2006 with the objective to understand people's relationship to their musical tools. The survey focused on the question of embodiment and its different modalities in the fields of acoustic and digital instruments. The questions of control, instrumental entropy, limitations and creativity were addressed in relation to people's activities of playing, creating or modifying their instruments. The approach used in the survey was phenomenological, i.e. we were concerned with the experience of playing, composing for and designing digital or acoustic instruments. At the time of analysis, we had 209 replies from musicians, composers, engineers, designers, artists and others interested in this topic. The survey was mainly aimed at instrumentalists and people who create their own instruments or compositions in flexible audio programming environments such as SuperCollider, Pure Data, ChucK, Max/MSP, CSound, etc.
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    • [1] Duignan, Matthew; Noble, James & Biddle, Robert. “A Taxonomy of Sequencer User-Interfaces” in Proceedings of ICMC 2005, Barcelona: Escola Superior de Música de Catalunya, 2005.
    • [2] Eaglestone, Barry; Upton, Catherine & Ford, Nigel. “The Compositional Process of Electroacoustic Composers: Contrasting Perspectives” in Proceedings of ICMC 2005, Barcelona: Escola Superior de Música de Catalunya, 2005.
    • [3] Heidegger, Martin. Being and Time. Oxford: Blackwell Publishers, 1995. Pp. 102-122.
    • [4] Hunt, Andy; Wanderley, Marcelo M. & Paradis, Matthew. “The Importance of Parameter Mapping in Electronic Instrument Design” in Proceedings of NIME 2002. Limerick: University of Limerick, Department of Computer Science and Information Systems, 2002.
    • [5] Jordá, Sergi. Digital Lutherie: Crafting musical computers for new music's performance and improvisation. PhD thesis. Barcelona: Universitat Pompeu Fabra, 2005. p. 169.
    • [6] Magnusson, Thor. “ixi software: Open Controllers for Open Source Software” in Proceedings of ICMC 2005. Barcelona: Escola Superior de Música de Catalunya, 2005.
    • [7] Magnusson, Thor. “Screen-Based Musical Instruments as Semiotic-Machines” in Proceedings of NIME 2006. Paris: IRCAM, 2006.
    • [8] Momeni, Ali. “Composing instruments: Inventing and performing with generative computer-based instruments”, PhD Dissertation, UC Berkeley. 2005.
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