Is there a distinction between New Interfaces for Musical Expression and New Interfaces for Controlling Sound? This article begins with a brief overview of expression in musical performance, and examines some of the characteristics of effective “expressive” computer music instruments. It becomes apparent that sophisticated musical expression requires not only a good control interface but also v...

We studied the problem of automatic music transcription (AMT) for polyphonic music. AMT is an important task for music information retrieval because AMT results enable retrieving musical pieces, high-level annotation, demixing, etc. We attempted to transcribe a part played by an instrument specified by users (specified part tracking). Only two timbre models are required in the specified part tr...

This work aims to create a musical performance for large-scale audience participation using mobile phones as musical instruments. Utilizing ubiquitous smartphones, we attempted to facilitate audience engagement with networked phones as musical instruments. Drawing lessons learnt from previous works of mobile music, audience participation practices, and networked instrument design, we developed ...

The Arcontinuo is an electronic musical instrument designed from a perspective based in the study of their potential users and their interaction with existing musical interfaces. Arcontinuo aims to change the way electronic music is performed, as it is capable of incorporating natural and ergonomic human gestures, allowing the musician to engage with the instrument and as a result, enhance the ...

This paper describes the concept of the integral music controller (IMC), a controller that combines gestural interface with direct emotional control of a digital musical instrument. This new controller enables the performer to move smoothly between direct physical interaction with an acoustical musical instrument, and gestural/emotional control of the instrument’s physical model. The use of phy...

Musical skills and expertise vary greatly in Western societies. Individuals can differ in their repertoire of musical behaviours as well as in the level of skill they display for any single musical behaviour. The types of musical behaviours we refer to here are broad, ranging from performance on an instrument and listening expertise, to the ability to employ music in functional settings or to c...

Preface. When H. Bouasse published his Instrumentsà Vent in two volumes in 1929–30, he set the starting point for what can be regarded as modern research on musical acoustics. Some 40 years later, the stock of published papers could be counted in their hundreds. However, it is only during the last two or three decades that our physical understanding, in combination with the development of compu...

This paper describes a method of constructing a musical instrument hierarchy reflecting the similarity of acoustical features. Although this acoustical hierarchy is useful for various purposes as well as investigating the timbres of musical instruments, it has not been reported in the literature. The main issues in constructing such a hierarchy are what feature space is used and how to obtain t...

This paper presents a novel method of classifying musical sounds. An earlier work has shown the ability of a subset of the timbre attributes of musical sounds to classify musical sounds correctly in instrument families. This work focuses on the interpretation of the timbre attributes. The question is: which timbre attributes are useful for the classification of the sounds? These attributes are ...

While most musical robots that are capable of playing the drum kit utilise a relatively simple striking motion, the hihat, with the additional degree of motion provided by its pedal, requires more involved control strategies in order to produce expressive performances on the instrument. A robotic hi-hat should be able to control not only the striking, timing, and velocity to a high degree of pr...