New Interfaces for Musical Expression

We present the prototype of a hybrid instrument, which uses two contact microphones to sonify the gestures of a player on a generic surface, while a gesture localization algorithm controls the pitch of the sonified output depending on the position of the gestures. To achieve the gesture localization we use a novel approach combining attack parametrization and template matching across the two microphone channels. With this method we can correctly localize 80 ± 9 % of the percussive gestures. The user can assign determined pitches to specific positions and change the pitch palette in real time. The tactile feedback characteristic of every surface opens a set of new playing strategies and possibilities specific to any chosen object. The advantages of such a system are the affordable production, flexibility of concert location, object-specific musical instruments, portability, and easy setup.

The PHASE project is a research project devoted to the study and the realization of systems of multi-modal interaction for generation, handling and control of sound and music. Supported by the network RIAM (Recherche et Innovation en Audiovisuel et Multimédia), it was carried out by the CEA-LIST for haptic research, Haption for the realization of the haptic device, Ondim for integration and visual realization and Ircam for research and realization about sound, music and the metaphors for interaction. The integration of the three modalities offers completely innovative capacities for interaction. The objectives are scientific, cultural and educational. Finally, an additional objective was to test such a prototype system, including its haptic arm, in real conditions for general public and over a long duration in order to measure its solidity, its reliability and its interest for users. Thus, during the last three months of the project, a demonstrator was presented and evaluated in a museum in Paris, in the form of an interactive installation offering the public a musical game. Different from a video game, the aim is not to animate the pixels on the screen but to play music and to incite musical awareness.

Developing approaches to the creation of expert performance practice on new DMIs is a longstanding research challenge. We present an approach which leverages an expert performer's embodied knowledge of expressive performance gesture on an existing instrument. This knowledge forms the basis for the creation of a performance practice of expressive gestures an a new DMI.

"Cheap Thrills" é uma canção da cantora australiana Sia, o tema foi composto pela própria intérprete em parceria com Greg Kurstin. Inicialmente a música foi escrita para a cantora Rihanna mas como esta acabou por não gravar Sia decidiu colocar o tema no seu disco (This is acting, 7º álbum). O tema conta ainda com a participação do artista jamaicano Sean Paul.
Este álbum reflete uma faceta importante da carreira de Sia, que nem todos conhecem, é que na verdade, além de cantora, SIA é também uma compositora muito requisitada por grandes artistas do mundo pop. Entre muitos outros destaco nomes como os das cantoras Beyoncé, Adele e Rihanna. Na verdade todo o álbum é constituído por canções que a cantora já havia escrito para outros artistas.
Musicalmente falando, o tema original está em fá#. Como é normal mudei a tonalidade para facilitar a execução: este instrumental está em sol menor. Apesar dos dois bemóis na armação de clave (sib e mib) a melodia não utiliza NUNCA o mib.
A parte A é um pouco difícil de executar por causa das notas graves e rápidas, mas o resto do tema é fácil.
Hamonicamente a música foi composta sobre 4 acordes apenas (sol menor, mib maior, sib maior e fá maior). É um tema fantástico para utilizar com os instrumentos Orff.

Letra / Lyrics
on, come on, turn the radio on
It's Friday night and I won't be long
Gotta do my hair, I put my make up on
It's Friday night and I won't be long

'Til I hit the dance floor
Hit the dance floor
I got all I need
No I ain't got cash
I ain't got cash
But I got you baby

Baby I don't need dollar bills to have fun tonight
(I love cheap thrills!)
Baby I don't need dollar bills to have fun tonight
(I love cheap thrills!)
But I don't need no money
As long as I can feel the beat
I don't need no money
As long as I keep dancing

Come on, come on, turn the radio on
It's Saturday and I won't be long
Gotta paint my nails, put my high heels on
It's Saturday and I won't be long

'Til I hit the dance floor
Hit the dance floor
I got all I need
No I ain't got cash
I ain't got cash
But I got you baby

Baby I don't need dollar bills to have fun tonight
(I love cheap thrills!)
Baby I don't need dollar bills to have fun tonight
(I love cheap thrills!)
I don't need no money
As long as I can feel the beat
I don't need no money
As long as I keep dancing

(I love cheap thrills!)
(I love cheap thrills!)
I don't need no money
As long as I can feel the beat
I don't need no money
As long as I keep dancing
Oh, oh

Baby I don't need dollar bills to have fun tonight
(I love cheap thrills!)
Baby I don't need dollar bills to have fun tonight
(I love cheap thrills!)
I don't need no money
As long as I can feel the beat
I don't need no money
As long as I keep dancing

La, la, la, la, la, la, la
(I love cheap thrills!)
La, la, la, la, la, la, la
(I love cheap thrills!)
La, la, la, la, la, la, la
(I love cheap thrills!)
La, la, la, la, la, la
(I love cheap thrills!)

Cifra melódica
dó ré dó ré
ré dó ré sol sol sol
sol fá fá fá
fá fá sol fá fá

dó ré dó ré
ré dó ré sol sol sol
sol fá fá fá
fá fá sol fá fá

sib sib DÓ lá sib
sib sib DÓ lá sib
sib sib sib fá fá
sib sib DÓ lá
sib sib DÓ lá
sib sib sib sib fá fá

sol lá sib sol
sol sol sol sol
fá sol sol fá fá

sol lá sib sol
sol sol sol sol
fá sol sol fá fá

ré sol lá sib
lá sol ré dó
ré sol lá sib
lá sol ré...

ré sol lá sib
lá sol ré dó
ré sol lá sib
lá sol ré.

dó ré dó ré
ré dó ré sol sol sol
sol fá fá fá
fá fá sol fá fá

dó ré dó ré
ré dó ré sol sol sol
sol fá fá fá
fá fá sol fá fá

sib sib DÓ lá sib
sib sib DÓ lá sib
sib sib sib fá fá
sib sib DÓ lá
sib sib DÓ lá
sib sib sib sib fá fá

sol lá sib sol
sol sol sol sol
fá sol sol fá fá

sol lá sib sol
sol sol sol sol
fá sol sol fá fá

ré sol lá sib
lá sol ré dó
ré sol lá sib
lá sol ré...

ré sol lá sib
lá sol ré dó
ré sol lá sib
lá sol ré...

sib lá sib DÓ DÓ
sib, lá,
sib lá sib DÓ DÓ
sib...

sib lá sib DÓ DÓ
sib, lá,
sib lá sib DÓ DÓ
sib...

Educação Musical
José Galvão

Partitura e outros recursos em: http://josegalvao.wix.com/educacaomusical

From the performer’s point of view, so many of the technical aspects of post-1950 works require specialized, advanced study. Interpreting this music often demands a radically different mindset from earlier repertoire. It requires familiarity with new kinds of notation, new techniques or unfamiliar concepts. It may even rely on us being familiar with elements derived from musical cultures other than our own. All this can be intimidating.

Composers, for their part, may be looking for ways to refine their writing for the cello, making it more idiomatic, accessible, or personal. Alternatively, they may be wanting to discover new directions and possibilities, either in terms of instrumental techniques or in exploring new sonorities. With all these issues in mind, I decided to write this book, which is informed by my twenty years of performing post-1950 composers in a variety of mediums and genres around the world, and is supported by my doctoral research at the University of Montreal.

I do not consider this book to be an academic treatise, but rather a practical handbook, an instruction manual for those wishing to expand their knowledge of the cello and the repertoire of the recent past, providing both technical and practical advice on the execution of complex contemporary works for the instrument. Performers and composers: you will discover new ways of playing, new technical concepts, composers who you have not yet encountered. My wish is that my book will open up new avenues for your future research.

This paper introduces a brain-computer interface (BCI) system that uses electroencephalogram (EEG) information to steer generative rules in order to compose and perform music. It starts by noting the various attempts at the design of BCI systems, including systems for music. Then it presents a short technical introduction to EEG sensing and analysis. Next, it introduces the generative music component of the system, which employs an Artificial Intelligence technique for the computer-replication of musical styles. The system constantly monitors the EEG of the subject and activates generative rules associated with the activity of different frequency bands of the spectrum of the EEG signal. The system also measures the complexity of the EEG signal in order to modulate the tempo (beat) and dynamics (loudness) of the performance.

This paper reports on ixiQuarks; an environment of instruments and effects that is built on top of the audio programming language SuperCollider. The rationale of these instruments is to explore alternative ways of designing musical interaction in screen-based software, and investigate how semiotics in interface design affects the musical output. The ixiQuarks are part of external libraries available to SuperCollider through the Quarks system. They are software instruments based on a nonrealist design ideology that rejects the simulation of acoustic instruments or music hardware and focuses on experimentation at the level of musical interaction. In this environment we try to merge the graphical with the textual in the same instruments, allowing the user to reprogram and change parts of them in runtime. After a short introduction to SuperCollider and the Quark system, we will describe the ixiQuarks and the philosophical basis of their design. We conclude by looking at how they can be seen as epistemic tools that influence the musician in a complex hermeneutic circle of interpretation and signification.

This article introduces the idea of tuning invariance, by which relationships among the intervals of a given scale remain the “same” over a range of tunings. This requires that the frequency differences between intervals that are considered the “same” are “glossed over” to expose underlying similarities. This article shows how tuning invariance can be a musically useful property by enabling (among other things) dynamic tuning, that is, real-time changes to the tuning of all sounded notes as a tuning variable changes along a smooth continuum. On a keyboard that is (1) tuning invariant and (2) equipped with a device capable of controlling one or more continuous parameters (such as a slider or joystick), one can perform novel real-time polyphonic musical effects such as tuning bends and temperament modulations—and even new chord progressions—all within the time-honored framework of tonality. Such novel musical effects are discussed briefly in the section on dynamic tuning, but the bulk...

"In New Digital Musical Instruments Eduardo Miranda and Marcelo Wanderley focus on musical instruments that use the computer as the main sound-generating device. Such instruments often consist of a gestural controller driving the musical parameters of a sound synthesizer in real-time. The book is divided into five chapters. The first chapter discusses the notion of musical gestures, their acquisition and their mapping onto the variables of a synthesizer. The second chapter focuses on practical issues of gestural controller design and reviews various examples of gestural controllers. The third chapter follows with an introduction to sensors and sensor-to-computer interfaces. It reviews the application of these sensors in the design of various digital musical instruments and discusses methods for converting the sensor signals onto data that can be used to control software sound synthesizers. The following two chapters introduce the use of electrical signals produced in the body, such as nerves, muscles, and brain signals, to control music. It presents different types of biosignals and introduces basic techniques to render these signals useful for musical control. Finally, chapter five discusses an interesting route to new instrument design, which involves the provision of artificial intelligence in order to render such instruments interactive.
"

Il seguente lavoro pone come obiettivo di ricerca e studio la corrente artistica contemporanea denominata Vaporwave.
Nel primo capitolo è esposta la genesi dell’espressione musicale, le prime testimonianze e sperimentazioni, la formazione della comunità artistica. 
Segue l’analisi delle modalità di composizione e le caratteristiche sonore del tipico brano Vaporwave.
Nel secondo capitolo sono illustrati i caratteri estetici della componente artistico visuale denominata AESTHETICS.
Il terzo capitolo analizza il rapporto sinestetico e multimediale tra le due componenti del movimento.
Nel quarto capitolo è presentata una riflessione sulla figura autoriale nel contesto produttivo della Vaporwave.
Il quinto capitolo costituisce la seconda fase di studio, incentrato sulla lettura ed interpretazione del movimento in chiave estetica: l’analisi dei temi ricorrenti nelle espressioni artistiche Vaporwave ed una riflessione sul panorama artistico e culturale in cui tale espressione artistica trova nascita e sviluppo.
A causa della recente formazione del movimento e della relativa scarsità di materiale reperibile sull’argomento, il lavoro è stato prevalentemente svolto tramite un approccio di ricerca ed analisi diretta sulle opere.

In this paper, we introduce and analyze four gesture-controlled musical instruments. We briefly discuss the test platform designed to allow for rapid experimentation of new interfaces and control mappings. We describe our design experiences and discuss the effects of system features such as latency, resolution and lack of tactile feedback. The instruments use virtual reality hardware and computer vision for user input, and three-dimensional stereo vision as well as simple desktop displays for providing visual feedback. The instrument sounds are synthesized in real-time using physical sound modeling.

"Jin Hi Kim is highly acclaimed as both an innovative komungo (Korean fourth century fretted board zither) virtuoso and for her cross-cultural compositions. Kim has introduced the Korean indigenous komungo for the first time into Western contemporary music scene with her wide array of pioneering compositions for chamber ensemble, orchestra, avant-garde jazz improvisations and multicultural ensembles. She has co-designed the world's only electric komungo.

Kim’s works have been presented on the main stages of significant cultural venues including Carnegie Hall, Lincoln Center for the Performing Arts, John F. Kennedy Center for the Performing Arts, Brooklyn Academy of Music, The Festival of Asian Art (Hong Kong), Walker Art Center, Royal Festival Hall (London), Haus der Kulturen der Welt (Berlin), the Warsaw Autumn Festival (Poland), Festival Nieuwe Muziek (Holland), Musique Action Festival (France), the Asian Pacific Festival (New Zealand), Nazuca Music Festival (Peru), Alternativa Contemporary Music Festival (Moscow), Art Summit Festival (Indonesia), Moers New Jazz Festival (Germany), and the Vancouver International Jazz Festival (Canada) among many others.

Kim received the Award for Music Composition from the Foundation For Contemporary Performance Art which was created by John Cage and Jasper Johns to support innovative creative work in the arts. She is a recipient of the residence fellowship for the Rockefeller Foundation Bellagio Center, Italy and the Asian Cultural Council fellowship in Japan. Kim studied and practiced Korean traditional music with masters from National School for Korean Traditional Music, which is affiliated with the Ministry of Culture. She earned a BA degree in Korean traditional music at Seoul National University before coming to the United States. Subsequently, she studied with composer John Adams, Lou Harrison, Terry Riley and David Rosenboom, and received an MFA in electronic music/composition at Mills College, CA.

Jin Hi Kim was awarded a Guggenheim Fellowship in 2010 for Music Composition.
"

Kinesound is a natural user interface that works as a musical instrument. It consists of an iPhone 5 mobile phone, a special bracelet, a computer and custom made software built in the Pure Data IDE. This instrument is played with the mobile phone's movement, which is fixed onto the user's arm with the bracelet. The sound is generated through the software in the computer, which receives the sensors' information from the mobile phone. It's a tool that serves the purposes of:
- Offering the experience of musical creation to beginners and experts as well.
- Revealing another vision of the body, its movements and gestures, through a sonic aesthetic.
- Prioritize principles of improvisation, intuition, observation, experimentation, the non-academic, spontaneity and expression in the practice of music and sound art.

Esta canção é da autoria do compositor e cantor italiano Gianluca Grignani. Foi gravada a primeira vez em 1994 mas tem vindo a “renascer” ao longo dos anos na voz de novos cantores como é o caso de Sérgio Dalma, José Augusto, Ana Carolina, entre outros. Esta versão é de 2014 e junta a voz de Paulo Gonzo a Ana Carolina.
Tanto a melodia como a harmonia são fáceis, considero que o maior grau de dificuldade está no ritmo.

Human movement is central to instrumental musical performance. Beyond the ap- parent connection between sound-producing actions and the sounds themselves, move- ment can communicate emotion, musical intention and structure. In designing an acoustic instrument, the requirements to support the vibration and manipulation of strings or membranes constrain the possibilities for action that facilitate performance. In Digital Musical Instrument (DMI) design, however, no specific physical require- ments for movements exist. Electronic sound production and sensing systems expand the possibilities for performance movement far beyond that typically associated with acoustic instruments. This is indicated by the DMI design community’s focus on sound synthesis and sound-gesture mapping; little attention is given to movement qualities of the performance interaction. This thesis seeks to redress this imbalance, by developing and testing a coherent method for installing bodily movement in DMI designs.
Upon considering existing frameworks for description of human movement, both generally and in musical performance specifically, Laban Movement Analysis (LMA) was identified as a suitable method for exploring and designing for movement. Laban’s theory of Effort was selected to observe and analyse existing Theremin performances, and, from this analysis, tested in a novel DMI, the Damper. Following this, further re-iterations of LMA observation and analysis were carried out to strengthen this de- scriptive method.
From these initial studies, and existing design theory, a formal movement-based iii
DMI design process was constructed, and implemented in the design of another novel DMI interface, the Twister. This interface was designed to the specific quality of movement, Carving, as defined by LMA. An observational analysis showed that naïve users did respond to the device with the intended movement qualities. This thesis therefore provides a procedural framework with which to design for movement in DMIs, and initial testing indicates that it is indeed possible to design DMI interfaces that invite desired movement qualities.

Au cours des dernières années, l’avènement des technologies de captation du mouvement a radicalement transformé l’univers de la pratique artistique tout en ouvrant des perspectives inédites pour la recherche scientifique. La musique est actuellement l’un des domaines les plus impliqués dans ce renouvellement expressif et épistémologique. Dans ce cadre, les processus d’interaction entre médiation technologique, mouvement et son, semblent se décliner selon deux modalités majeures : d’une part, les technologies d’analyse du mouvement permettent d’étudier expérimentalement la connexion mutuelle entre phénomène acoustique et système sensori-moteur; de l’autre, la compréhension de la nature incarnée de l’expérience musicale oriente la conception et le développement de technologies interactives pour la performance vers un modèle plus holistique. En partant de ces prémisses, cette thèse porte sur la manière dont la transformation des aspects imperceptibles du mouvement en données perceptibles – sous forme de son – permet de prendre conscience des processus physiologiques et figuratifs qui sont à la base du geste. Dans ce contexte, la relation entre mouvement et feedback sonore est analysée selon une perspective écologique visant à mettre en lumière comment la médiation technologique induit un processus d’extension et d’intensification autopoïétique de l’anatomie corporelle. Notamment dans le cas de la pratique performative, l’interaction sonore offre alors au performeur la possibilité de redéfinir sa propre organisation perceptive sur la base d’un un nouveau répertoire des données sensorielles, lui permettant ainsi de repenser la composition expressive du mouvement.

What does it mean to be expressive in music performance in diverse historical and cultural domains? What are the means at the disposal of a performer in various time periods and musical practice conventions? And what are the conceptualisations of expression and the roles of performers that shape expressive performance? For the first time a wide variety of perspectives are assembled in one volume investigating expressiveness in performance in various styles and cultures, including in what ways the improvisations of Louis Armstrong, studio fashioned Electronic Dance music, and the songs of Bedzan Pygmies can be considered expressive. The volume is unique in combining historical, systematic, computational and phenomenological approaches to performance and in including empirical investigations of western and non-western classical music as well as western and non-western popular and folk music. The highlighted conceptualisations and materialisations of expressiveness in performance are as diverse as one would hope them to be. More awareness of and focus on oral traditions and player interaction is needed for performance research to break away from the dogma of notation. While this challenges existing methods, computational and empirical approaches are nevertheless not only crucial, but may become central to furthering our understanding of what makes music performance expressive.

Keywords:
expressivity, performance, traditions, computational methods, music history, contemporary culture, non-western cultures, empirical musicology, music psychology, philosophy.

Esta “balada eletrónica” do artista norueguês  Alan Walker, foi gravada em novembro de 2015, mas atingiu as “luzes da ribalta” em março de 2016 após a interpretação fabulosa por Iselin Solheim a 1 de março de 2016 nos X Games de Oslo atingindo 145 milhões de visualizações no youtube em julho de 2016
O original está escrito em mi bemol mas o presente instrumental está em ré menor.
Num andamento lento (90 BPM batidas por minute) o tema vai envolvendo os ouvintes através da voz suave de  Iselin e do piano suportado por uma harmonia com apenas 4 acordes (rém, lá, sol e dó).
Coloquei-a na lista “Dificuldade média” por causa do sib, mas a linha melódica é fácil.

El diseño y construcción de instrumentos musicales se ha desarrollado de múltiples formas a través del tiempo, muchos de estos instrumentos han evolucionado hasta llegar a consolidarse de tal modo que se satisfagan las necesidades del compositor e intérprete. En el caso particular de los instrumentos informáticos, es decir aquellos que usan tecnologías electrónicas y digitales, la evolución se ha desarrollado a una gran velocidad si se compara con el recorrido evolutivo de un instrumento clásico de los empleados actualmente. Este documento aborda principalmente el contexto de los instrumentos musicales informáticos desde un análisis que comprende referentes históricos, desarrollos de las últimas décadas, tecnologías usadas en el campo, además de el análisis del compositor, intérprete e instrumento desde el contexto informático. Dicho análisis aborda con detalle el sistema Ableton-Launchpad desde la realización de un estudio de caso que permitió cuestionar, tomando como base una serie de entrevistas realizadas en el proceso, diferentes elementos en cuanto a su diseño, la relación de los elementos que lo conforman y el entendimiento de este como instrumento o no; además de analizar su pertinencia desde la mirada de distintos autores y campos artísticos musicales o sonoros.

The better quality pdf is downloadible from here: "http://www.leoalmanac.org/wp-content/uploads/2013/07/LEAVol19No3-Mailman.pdf
Through recent artistic practices and technology of interactive systems for music, composition and improvisation have more and more blended and interconnected with each other – a sui generis situation now called comprovisation. The concept of comprovisation applies equally well to the spontaneous generation and manipulation of computer graphics, especially as such graphics are systematically coordinated audio-visually, while being subject to spontaneous manipulation by a performer.
This is explained in terms of the Fluxations and FluxNoisations Human Body Interfaces, interactive dance systems that generate music and graphics spontaneously in response to hand and body movement. They enable spontaneous expressive shaping of coherent complexity and variety. Thus a multi-layered multimodal experience arises. The aesthetic experience of this multimedia spectacle relates to experiences of various prior music and visual art of the 19th, 20th, and 21st centuries, as well as to hypothetical physical realities. Thus a kind of cybernetic phenomenology of art is pursued and enacted through an embodied cybersynthesis of art with simulated alternate reality. Call it a pragmatic speculative realism, an adventurous technoetic ‘what if.’ As compared to more traditional forms of improvisation, the opportunities for risk-taking and aesthetic exploration rise to a new level of uncertainty, as the reactions of the improviser simultaneously draw from and target both visual and aural modalities, such that the intentions toward each fuse together."

How to define the relationship of human bodies, sound and technological instruments in musical performance? This enquiry investigates the issue through an iterative mode of research. Aesthetic and technical insights on sound and body art performance with new musical instruments combine with analytical views on technological embodiment in philosophy and cultural studies. The focus is on corporeality: the physiological, phenomenological and cultural basis of embodied practices.
The thesis proposes \emph{configuration} as an analytical device and a blueprint for artistic creation. Configuration defines the relationship of the human being and technology as one where they affect each other's properties through a continuous, situated negotiation. In musical performance, this involves a performer's intuition, cognition, and sensorimotor skills, an instrument's material, musical and computational properties, and sound's vibrational and auditive qualities.
Two particular kinds of configuration feature in this enquiry. One arises from an experiment on the effect of vibration on the sensorimotor system and is fully developed through a subsequent installation for one visitor at a time. The other emerges from a scientific study of gesture expressivity through muscle physiological sensing and is consolidated into an ensuing body art performance for sound and light. Both artworks rely upon intensely intimate sensorial and physical experiences, uses and abuses of the performer's body and bioacoustic sound feedback as a material force.
This work contends that particular configurations in musical performance reinforce, alter or disrupt societal criteria against which human bodies and technologies are assessed. Its contributions are: the notion of configuration, which affords an understanding of human-machine co-dependence and its politics; two sound-based artworks, joining and expanding musical performance and body art; two experiments, and their hardware and software tools, providing insights on physiological computing methods for corporeal human-computer interaction.

Los siglos XX y XXI han visto el nacimiento de una gran variedad de instrumentos musicales basados en la utilización de energía eléctrica. Su invención ha estado en relación con diversas tecnologías desarrolladas en diferentes momentos de la historia.

A due anni dalle celebrazioni per il centenario della nascita e il ventennale della morte, si continua a parlare di John Cage , personaggio di assoluto rilievo nel panorama artistico-musicale internazionale, che si colloca -come ha scritto Richard Kostelanetz -tra le menti più radicali del Novecento. Ma Cage era più compositore che filosofo o più filosofo che compositore? In questo volume, non si focalizza (sol)tanto l'attenzione su questo quesito, ma si cercano di bilanciare le diverse chiavi interpretative, privilegiando però una lettura estetica (quindi, filosofica) del pensiero musicale cageano, inteso come banco di prova e, allo stesso tempo, come laboratorio sperimentale di alcune tra le idee che hanno segnato gli sviluppi delle arti nel xx secolo. Giacomo Fronzi (1981), laureato in Filosofia (Lecce) e in Musicologia (Venezia), è dottore di ricerca in Etica e antropologia filosofica all'Università del Salento, dove svolge attività di ricerca presso la cattedra di Estetica. Si è diplomato in pianoforte presso il Conservatorio "T. Schipa" di Lecce. Si interessa prevalentemente di estetica contemporanea e filosofia della musica. Cura la rubrica "Eikon. Riflessione estetica, immagini e immaginari" de "Il rasoio di Occam" (MicroMega). Oltre ad articoli e saggi su riviste nazionali ed internazionali, ha curato il volume John Cage. Una rivoluzione lunga cent'anni (Milano 2012) e pubblicato i volumi Etica ed estetica della relazione (Milano 2009), Contaminazioni. Esperienze estetiche nella contemporaneità (Milano 2010), Theodor W. Adorno. Pensiero critico e musica (Milano 2011), Electrosound. Storia ed estetica della musica elettroacustica (Torino 2013).

This thesis seeks to articulate a performer's perspective of the interactions between percussion and computer in performance. A selection of compositions for percussion and computer will be used to explain how understanding the role of the computer can inform the player's technical and musical choices and is vital to convey a cohesive performance. Two of the compositions are the author's own work. Discussion of both the creation and performance of these works will suggest how using the computer with percussion extends the musical possibilities in a solo performance and allows implicit connections with practitioners of other art-forms.

It is with great delight that I intro- duce the reader to Computer Music Journal’s 2015 Sound and Video An- thology. I have curated a series of diverse, yet interrelated, works on the theme of biophysical music.With this term, I refer to live music pieces based on a combination of physi- ological technology and markedly physical, gestural performance. In these works, the physical and physi- ological properties of the performers’ bodies are interlaced with the mate- rial and computational qualities of the electronic instruments, with varying degrees of mutual influence. Musical expression thus arises from an inti- mate and, often, not fully predictable negotiation of human bodies, instru- ments, and programmatic musical ideas

RESUMEN En el presente artículo, se abordan algunos de los desafíos y características más relevantes de la creación musical en la era post-digital, desde el particular punto de vista de un compositor. Se otorga un especial énfasis a tres áreas al interior de la creación musical: la música electroacústica, la composición algorítmica y las nuevas interfaces de expresión musical. El artículo presenta tanto discusiones teóricas como ejemplos tomados de la producción artística de quien escribe.

Los siglos XX y XXI han visto el nacimiento de una gran variedad de instrumentos musicales basados en la utilización de energía eléctrica. Su invención ha estado en relación con diversas tecnologías desarrolladas en diferentes momentos de la historia.

Explorations of a new mapping strategy for spectral spatial- isation demonstrate a concise and flexible control of both spatiomorphology and spectromorphology. With the crea- tion of customized software by the author for audio-rate histograms, spectral processing function smoothing, spec- tral centroid width modulation, audio-rate distance-based amplitude panning, audio-rate ambisonic equivalent pan- ning, a growing library of audio trajectory functions, and an assortment of spectral transformation functions, this article aims to explain the rationale of this process.

This thesis investigates the area of audiovisual composition and audiovisual performance. A brief history of the audiovisual genre is presented with reference to influential composers and artists who have carried out pioneering work in this field. The technological advancements that have contributed to audiovisual composition and performance are also identified. A selection of pieces that represent audiovisual works in a performance context are then discussed which relate to the original composition ‘A
Fading Vision’. The development of a real time audiovisual performance system incorporating a hexaphonic guitar, Max/MSP and Processing is then described. A detailed analysis of the audiovisual composition, ‘A Fading Vision’, is then carried out followed by a critical evaluation of the piece and the technical system.

This paper explores the differences in the design and performance of acoustic and new digital musical instruments, arguing that with the latter there is an increased encapsulation of musical theory. The point of departure is the phenomenology of musical instruments, which leads to the exploration of designed artefacts as extensions of human cognition – as scaffolding onto which we delegate parts of our cognitive processes. The paper succinctly emphasises the pronounced epistemic dimension of digital instruments when compared to acoustic instruments. Through the analysis of material epistemologies it is possible to describe the digital instrument as an epistemic tool: a designed tool with such a high degree of symbolic pertinence that it becomes a system of knowledge and thinking in its own terms. In conclusion, the paper rounds up the phenomenological and epistemological arguments, and points at issues in the design of digital musical instruments that are germane due to their strong aesthetic implications for musical culture.

Este tema de Paulo Gonzo é um dos meus favoritos. Apesar de ritmicamente ter uma leitura difícil para os alunos do 2º ciclo o facto de ser um tema conhecido ajuda a compreender o padrão rítmico.
Melodicamente (em termos de altura) o tema é fácil de executar mas coloquei-o na dificuldade média por ter muitas notas graves na parte A e por ter um Sib na armação de clave.
A letra e a música são de autoria do intérprete e é para mim um dos temas mais bem conseguidos de Paulo Gonzo.
A tonalidade em que está (fá maior) permitir optar entre tocar ou cantar o tema ou ainda (como costumo fazer) alternar entre a voz e a flauta.
Harmonicamente o tema tem apenas 5 acordes mas as passagens (na guitarra) exigem alguma perícia.
https://www.youtube.com/watch?v=aVUz_kYU3Pw

This paper describes the rationale and design of the ixi lang, a live coding language built on top of SuperCollider. The paper explains why SuperCollider is used for this task, and reports on a survey conducted with users of the language. It concludes that simple and constrained systems can be useful in specific musical contexts, in particular when sketching or improvising, but that such systems can be limiting in the long run.

This paper investigates two central terms in Human Computer Interaction (HCI) – affordances and constraints – and studies their relevance to the design and understanding of digital musical systems. It argues that in the analysis of complex systems, such as new interfaces for musical expression (NIME), constraints are a more productive analytical tool than the common HCI usage of affordances. Constraints are seen as limitations enabling the musician to encapsulate a specific search space of both physical and compositional gestures, proscribing complexity in favor of a relatively simple set of rules that engender creativity. By exploring the design of three different digital musical systems, the paper defines constraints as a core attribute of mapping, whether in instruments or compositional systems. The paper describes the aspiration for designing constraints as twofold: to save time, as musical performance is typically a real-time process, and to minimize the performer’s cognitive load. Finally, it discusses skill and virtuosity in the realm of new musical interfaces for musical expression with regard to constraints.

This theoretical article focuses on issues of cognition and tactility in relation to musical sounds and musical instrument performance in the digital age. The digital revolution has brought about a new relationship between the instrument and the corporeal performing musician, and despite the obvious benefits of the process of digitization such as the democratization of musical skills, it may have also left us handicapped in some ways. The acoustic piano, which has held a central position in Western classical music, is used as a starting point for the discussion. The concept of sedimentation in the context of musical instruments is discussed, and three potential drawbacks of digitization are outlined: 1) digital perfection and the loss of "transcendence through flaws"; 2) separation of the interface and the sound, and performer's loss of "finding the instrument"; and 3) loss of the opportunity of creating the new by destroying the old.

Martin Parker’s gruntCount is a multi-version, configurable composition for improvising musician (or musicians) and computer. Performers embark on a journey through sound processing modules that are specifically customised to individual playing styles. It exists in no fixed state, yet allows for a growing set of rehearsable, replicable and configurable pieces, in which all musical material, timing, overall duration and levels of effort are managed by the live musician. In order to optimise elements of flow and of liveness in each performance, gruntCount challenges traditional definitions of 'piece', ‘system’ and ‘instrument’, instead establishing an environment for human-machine improvisation that serves the musical result and not the system itself. This paper refers to a selection of sound examples from the bass clarinet version (2012-14) and examines formal time-shaping possibilities within a structured performance, while exploring the environment’s qualities of coaction and configurability in an era of new score types.

The art of electric guitar playing has remained almost unchanged for as long as the instrument has been available, as we know it today (Beauchamp 1937). With only a few
notable, rare and eccentric exceptions, such as artist Jimi Hendrix performing with his teeth (Hendrix n.d.) instead of fingers, not much exploration has been done around this subject on this particular instrument.

The goal of this project and paper, is to develop and document a proof of concept, up to date, cost effective and open source product, that would register change in the pick grip pressure,
in order to augment the musical experience and/or performance, by using an electronic signal to control a DSP host or other equivalent computerized audio/image/environment
processing system.