Many countries and cities in the world tend to have different types of preferred or popular music, such as pop, K-pop, and reggae. Music-related applications utilize geographical proximity for evaluating the similarity of music preferences between two regions. Sometimes, this can lead to incorrect results due to other factors such as culture and religion. To solve this problem, in this paper, w...

Music education is a rich subject with many approaches and methodologies that have developed over hundreds of years. More than ever, technology plays important roles at many levels of a musician’s practice. This paper begins to explore some of the ways in which technology developed out of the NIME community (specifically hyperinstruments), can inform a musician’s daily practice, through short a...

When learning a classical instrument, people often either take lessons in which an existing body of “technique” is delivered, evolved over generations of performers, or in some cases people will “teach themselves” by watching people play and listening to existing recordings. What does one do with a complex new digital instrument? In this paper I address this question drawing on my experience in...

This position paper likes to stress the role and importance of performance based education in NIME like subjects. It describes the ‘klankontwerp’ learning line at the ‘school of the arts Utrecht’ in its department Music Technology. Our educational system also reflects the way that we could treat performance in the NIME community as a whole. The importance of performing with our instruments othe...

In treating the subject of musical language, a Persian musician would be intrinsically drawn to the structural similarities between the Persian music and language. Indeed Persian music and language are extremely related in their metrics, intonations and structural phrases (syntax). Although we will draw upon this relationship, our aim in this article is to present “music as a language,” c...

This paper addresses the problem that most electrophones and computer-based musical instruments are ephemera lasting long enough to signal academic and technical prowess. They rarely are used more than in a few musical performances. We offer a case study that suggests that longevity of use depends on stabilizing the interface and innovating the implementation to maintain the required stability ...

This paper presents the approaches and expectations of a recently launched course at New York University (NYU) in the design and development of musical controllers. The framework for the course, which is also entitled “New Interfaces for Musical Expression,” is largely based on the proceedings of the first NIME workshop held in Seattle, WA in April 2001.

Introduction: Music can elicit powerful emotional responses, the neural correlates of which have not been properly understood. An important aspect about the quality of any musical piece is its ability to elicit a sense of excitement in the listeners. In this study, we investigated the neural correlates of boredom evoked by music in human subjects. Methods: We used EEG recording in nine sub...

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...

Two modest-sized symbolic corpora of post-tonal and post-metric keyboard music have been constructed, one algorithmic, the other improvised. Deep learning models of each have been trained and largely optimised. Our purpose is to obtain a model with sufficient generalisation capacity that in response to a small quantity of separate fresh input seed material, it can generate outputs that are dist...