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Dissertations / Theses on the topic 'Accessible digital musical instruments'

Author: Grafiati

Published: 9 March 2023

Last updated: 31 July 2025

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1

DAVANZO, NICOLA. "ACCESSIBLE DIGITAL MUSICAL INSTRUMENTS FOR QUADRIPLEGIC MUSICIANS." Doctoral thesis, Università degli Studi di Milano, 2022. http://hdl.handle.net/2434/920339.

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This thesis explores a particular research topic in the field of Sound and Music Computing, dedicated to the creation of Accessible Digital Musical Instruments (ADMIs) designed for users affected by quadriplegia or similar motor impairments. With such conditions an user is completely paralyzed from the neck down. The impossibility to control the upper and lower limbs, particularly fingers, makes it impossible for such users to play conventional musical instruments, both acoustic and digital. This makes it necessary to introduce specific and non-trivial design and development solutions. A fir

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McCloskey, John Brendan. "inGrid : a new tactile, tangible and accessible digital musical instrument for enhanced creative independence amongst musicians with quadriplegic cerebral palsy." Thesis, Ulster University, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.654103.

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In digital music-making activities musicians with physical disabilities employ both accessible and generic control interfaces; accessible controllers capture broad input gestures and map them onto discrete output events, whereas consumer digital musical instruments (DMI's) offer extended control only through artefact multiplication (more buttons, sliders and dials). The interaction paradigm common to both consumer and specialised controllers reveals limited dimensions: click-and-drag or select-and-move. It is common practice in inclusive music activities for an able-bodied facilitator to expos

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Weinberg, Gil 1967. "Expressive digital musical instruments for children." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/62942.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 1999.<br>Includes bibliographical references (p. 87-92).<br>This thesis proposes to use technology to introduce children to musical expressivity and creativity. It describes a set of digital musical instruments that were developed in an effort to provide children with new tools for interaction, exploration and enjoyment of music. The thesis unfolds a multidisciplinary theoretical background, which reviews a number of philosophical, psychological, musical, and technolog

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Marshall, Mark. "Physical interface design for digital musical instruments." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=40788.

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This thesis deals with the study of performer-instrument interaction during the performance of novel digital musical instruments (DMIs). Unlike acoustic instruments, digital musical instruments have no coupling between the sound generation system and the physical interface with which the performer interacts. As a result of this, such instruments also lack the direct physical feedback to the performer which is present in an acoustic instrument. In fact in contrast to acoustic musical instruments, haptic and vibrotactile feedback is generally not present in a DMI contributing to a poor feel for

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Donovan, Liam. "Travelling wave control of stringed musical instruments." Thesis, Queen Mary, University of London, 2018. http://qmro.qmul.ac.uk/xmlui/handle/123456789/54052.

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Despite the increasing sophistication of digital musical instruments, many performers, composer and listeners remain captivated by traditional acoustic instruments. Interest has grown in the past 2 decades in augmenting acoustic instruments with sensor and actuator technology and integrated digital signal processing, expanding the instrument's capabilities while retaining its essential acoustic character. In this thesis we present a technique, travelling wave control, which allows active control of the vibrations of musical strings and yet has been little explored in the musical instrument lit

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Vamvakousis, Zacharias. "Digital musical instruments for people with physical disabilities." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/395189.

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Playing a musical instrument has been shown to have a positive impact in the life of individuals in many different ways. Nevertheless, due to physical disabilities, some people are unable to play conventional musical instruments. In this dissertation, we consider different types of physical disabilities and implement specific digital musical instruments suitable for people with disabilities of each type. Firstly, we consider the case of people with limited sensorimotor upper limb functions, and we construct low-cost digital instruments for three different scenarios. Results indicate that the c

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Magnusson, Thor. "Epistemic Tools : The Phenomenology of Digital Musical Instruments." Thesis, University of Sussex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.505911.

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Digital music technologies, and instruments in particular, are the result of specific systems of thought that define and enframe the user's creative options. Distinctive divisions between digital and acoustic instruments can be traced, contrasting the conceptually based design of software with the affordances and constraints of physical artefacts. Having lost the world's gift of physical properties, the digital instrument builder becomes more than a mere luthier. The process of designing and building the instrument is transformed into a process of composition, for it typically contains a great

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8

West, Travis J. "Sygaldry : reusable software for making digital musical instruments." Electronic Thesis or Diss., Université de Lille (2022-....), 2025. http://www.theses.fr/2025ULILB005.

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Les instruments de musique numériques sont une famille d'instruments dont le support excité est un signal audio numérique. Leur conception et leur développement font l'objet de recherches depuis plus de 30 ans, et certains outils, techniques et matériaux ont commencé à émerger en tant que composants standard pour la fabrication d'instruments de musique numériques. Afin de soutenir la maintenance et la reproduction à long terme de ces instruments, de permettre la recherche et la pratique créative à long terme et de favoriser le développement de notre savoir-faire collectif en matière de concept

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9

Sinyor, Elliot. "Digital musical instruments : a design approach based on moving mechanical systems." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99606.

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This thesis describes the design and use of two novel digital musical instruments (DMIs) based on moving mechanical systems. The motivation behind using mechanical devices was threefold: to explore the effect of physical effort on DMIs, to make use of the device's inherent haptic and visual feedback, and to serve as a starting point for sound mappings. It was hoped that their mechanical nature would give the instruments a character that could emerge through each of the mappings. The first DMI built was the Gyrotyre, a hand-held DMI based around a small bicycle wheel outfitted with sensors that

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10

Dalgleish, Mathew. "A contemporary approach to expressiveness in the design of digital musical instruments." Thesis, University of Wolverhampton, 2013. http://hdl.handle.net/2436/297483.

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Digital musical instruments pose a number of unique challenges for designers and performers. These issues stem primarily from the lack of innate physical connection between the performance interface and means of sound generation, for the latter is usually dematerialised. Thus, this relationship must instead be explicitly determined by the designer, and can be essentially any desired. However, many design issues and constraints remain poorly understood, from the nature of control to the provision of performer-instrument feedback. This practice-based research contends that while the digital and

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11

Ward, Nicholas. "Effortful interaction : a new paradigm for the design of digital musical instruments." Thesis, Queen's University Belfast, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602967.

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Human movement is central to instrumental musical performance. Beyond the apparent connection between sound-producing actions and the sounds themselves, movement 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 (OM!) design, however, no specific physical requirements for movements exist. Electronic sound production and sensing systems expand the possibilities for perform

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12

Wilansky, Jonathan. "A software tool for creating and visualizing mappings in digital musical instruments." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121453.

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In acoustic instruments, physical properties of the instrument determine both the gestures that can be performed on it and the sound produced by it. This is not the case with digital musical instruments (DMIs) that consist of three distinct parts: the playable interface, the sound generating component, and the mapping between them. The implication is that mapping from sensors to sound is an integral part in the design of a DMI, and a process highly influential on how the instrument is played and sounds. Creating mappings in a DMI is a non-trivial task, and typically a lot of different mappings

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Ghamsari-Esfahani, Mahtab. "An evaluation of the role of mapping in skill acquisition on digital musical instruments." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121483.

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Digital Music Instruments (DMIs) have become popular both in research laboratories and among performers of experimental music scenes. The concept of DMIs is very attractive, however few instruments make it beyond a laboratory environment. There is an apparent lack of historical and musical background enjoyed by acoustic instruments as well as a lack of pedagogy used to evaluate the effectiveness of DMIs and DMI players. While initial evaluation methods can be borrowed from the field of Human Computer Interaction (HCI), these methods need to be extended to evaluate the DMIs' integrated layers:

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14

Le, Bouteiller Madeleine. "Instruments numériques et performances musicales : enjeux ontologiques et esthétiques." Thesis, Strasbourg, 2020. http://www.theses.fr/2020STRAC002.

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Les ordinateurs et instruments numériques sont-ils des instruments de musique ? Selon des définitions traditionnelles, la réponse est négative. Pourtant, de nombreux outils numériques sont aujourd’hui utilisés pour jouer de la musique. L’objectif de cette thèse est d’approfondir, au moyen d’une enquête ontologique et d’une réflexion esthétique, le statut de ce genre d’instruments et des performances qu’ils mettent en œuvre. Nous étudions des systèmes musicaux caractérisés par l’élaboration numérique et algorithmique du son : des instruments à interfaces gestuelles, des contrôleurs MIDI, des lo

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15

Harkins, Paul Michael. "Following the instruments and users : the mutual shaping of digital sampling technologies." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/22943.

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The socio-musical practice of sampling is closely associated with the re-use of pre-existing sound recordings and the technological processes of looping. These practices, based on appropriation and repetition, have been particularly common within the genres of hip-hop and Electronic Dance Music (EDM). Yet early digital sampling instruments such as the Fairlight Computer Musical Instrument (CMI) were not designed for these purposes. The technologists at Fairlight Instruments in Australia were primarily interested in the use of digital synthesis to imitate the sounds of acoustic instruments; sam

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Ekholm, Erland, and Axel Petersson. "How interactive musical instruments influence children with intellectual disabilities? : A user study of the Rullen Band." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-299336.

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In order to further investigate the efficacy of interactive musical toys developed by students in the course DM2799 at KTH Royal Institute of Technology, we conducted a user study. The intended users of the toys are primary school children with special needs. The trials were held at the Rullen Dibber special needs school in Solna, Sweden. The study was conducted in order to be able to further develop the instruments and to better understand the needs and wants of the intended users. In order to do this, we studied the emergence of positive behaviors linked to musical expression. The study conc

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Rosas, Fátima Weber. "Arquitetura pedagógica para a construção e uso de instrumentos musicais digitais : um olhar a partir dos aspectos socioafetivos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/180561.

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Os avanços tecnológicos têm refletido não somente no modo de aprender e ensinar, mas também nas práticas pedagógicas e nas arquiteturas para o contexto educacional. Neste panorama, cresce a busca pela interdisciplinaridade, associada a uma visão holística do indivíduo, que leva em conta não somente a cognição, mas também os aspectos sociais e afetivos dos alunos. Diante desta realidade, percebe-se a necessidade de se construir e aplicar arquiteturas pedagógicas voltadas a esses aspectos, que englobem recursos tecnológicos tais como o computador e a construção de interfaces tangíveis pelos estu

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18

Croson, James Michael. "Musical use of a general and expressive plucked-string instrument in software." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1081200962.

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Thesis (D.M.A)--Ohio State University, 2004.<br>Title from first page of PDF file. Document formatted into pages; contains xiii, 57 p.; also includes graphics (some col.). Includes bibliographical references (p. 52-57). Available online via OhioLINK's ETD Center

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19

Perrotin, Olivier. "Chanter avec les mains : interfaces chironomiques pour les instruments de musique numériques." Thesis, Paris 11, 2015. http://www.theses.fr/2015PA112207/document.

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Le travail de cette thèse porte sur l'étude du contrôle en temps réel de synthèse de voix chantée par une tablette graphique dans le cadre de l'instrument de musique numérique Cantor Digitalis.La pertinence de l'utilisation d'une telle interface pour le contrôle de l'intonation vocale a été traitée en premier lieu, démontrant que la tablette permet un contrôle de la hauteur mélodique plus précis que la voix réelle en situation expérimentale.Pour étendre la justesse du jeu à toutes situations, une méthode de correction dynamique de l'intonation a été développée, permettant de jouer en dessous d

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20

Sarasúa, Berodia Álvaro. "Musical interaction based on the conductor metaphor." Doctoral thesis, Universitat Pompeu Fabra, 2017. http://hdl.handle.net/10803/404675.

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Interface metaphors are often used in Human Computer Interaction (HCI) to exploit knowledge that users already have from other domains. A commonly used one in Digital Musical Instruments (DMIs) is the conductor metaphor. We theorize that part of the knowledge that users have from the domain that the interface metaphor replicates is user-specific. In this context, we argue that systems using an interface metaphor can see their usability improved by adapting to this user-specific knowledge. We propose strategies to design motion-sound mappings for DMIs that draw upon the conductor metaphor by ad

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Goudard, Vincent. "Représentation et contrôle dans le design interactif des instruments de musique numériques." Thesis, Sorbonne université, 2020. https://accesdistant.sorbonne-universite.fr/login?url=http://theses-intra.upmc.fr/modules/resources/download/theses/2020SORUS051.pdf.

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Les instruments de musique numériques se présentent comme des objets complexes, qui se situent à la fois dans une continuité historique avec l'histoire de la lutherie tout en étant marqués par une rupture forte provoquée par le numérique et ses conséquences en terme de possibilités sonores, de relations entre le geste et le son, de situations d'écoute, de re-configurabilité des instruments, etc. Ce travail de doctorat propose une analyse des caractéristiques émanant de l'intégration du numérique dans les instruments de musique, en s'appuyant notamment sur une réflexion musicologique, sur des d

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Paloranta, Jimmie. "Interaction with a large sized augmented string instrument intended for a public setting." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-187740.

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Interactive installations in public settings have increased in popularity over the past decade, as well as the construction of digital musical instruments. In this paper I present a study of the interaction with a large sized augmented string instrument intended for a large installation in a museum, with focus on encouraging creativity, learning, and providing engaging user experiences. In the study, 9 participants were video recorded while playing with the string on their own, followed by an interview focusing on their experiences, creativity, and the functionality of the string. I then used

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Oliveira, Luís Carlos de. "Síntese por modelagem física da clarineta = modelo por guia de ondas com escoamento." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/261074.

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Orientadores: Rafael Santos Mendes, Ricardo Goldemberg<br>Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Engenharia Elétrica e de Computação<br>Made available in DSpace on 2018-08-18T23:37:16Z (GMT). No. of bitstreams: 1 Oliveira_LuisCarlosde_D.pdf: 5521873 bytes, checksum: 20aeecff279d6a276f652e26512c7903 (MD5) Previous issue date: 2011<br>Resumo: Este trabalho aplica a técnica do guia de ondas digital ("Digital Waveguide") na síntese de instrumentos de sopro da família das madeiras, em particular, da clarineta. Esta técnica foi desenvolvida na década de 1980 e, desde en

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24

Dias, Fernandes João Eduardo. "L’improvisation musicale électroacoustique : enjeux et problématiques du développement des technologies numériques." Thesis, Paris 8, 2019. http://www.theses.fr/2019PA080026.

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Cette thèse en recherche-création est centrée autour de l’exploration des besoins des musiciens dans le cadre de la pratique de l’improvisation musicale électroacoustique. Cette réflexion a été menée à partir d’un travail d’observation participante au sein de différents ensembles musicaux. Elle vise aussi à présenter les stratégies adoptées dans le développement des outils numériques d’un instrument de notre création. Comment la pratique de l’improvisation libre dans la musique électroacoustique fonctionne-t-elle et quelles sont les connaissances nécessaires pour la réaliser ? Pour aborder cel

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25

Torrents, Llum. "Internet i patrimoni cultural: el cas de les col•leccions d'instruments musicals en línia." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/350803.

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Aquesta tesi s'ha desenvolupat entorn les repercussions i oportunitats creades per la digitalització, accessibilitat en línia al patrimoni cultural i la preservació digital, doncs el llenguatge hipermèdia i els nous fluxos de comunicació han atorgat una nova dimensió als sistemes de comunicació i documentació i a les estratègies i programes de gestió, preservació, estudi, difusió i accés als béns culturals. L'estudi de cas són les col•leccions europees d'instruments musicals en línia. Hem pogut determinar les tendències de futur en relació a finalitats i objectius de la documentació i digital

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26

Carinola, Vincent-Raphaël. "Composition et nouvelles technologies : vers des nouveaux agencements des catégories musicales." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSES036.

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L’évolution lexicale qui tend à remplacer les termes d’« écriture » ou de « composition » par celui de « création musicale » ou d’« art sonore », est un indice parmi d’autres des mutations profondes qui accompagnent l’activité du compositeur et de la difficulté à identifier nombre d’œuvres récentes comme émanant d’un processus d’écriture. Ces mutations sont évidemment corrélées à l’évolution des technologies au cours du dernier siècle, et surtout à celle de l’informatique et des outils numériques, évolution qui a fait éclater le lien de l’œuvre musicale aux catégories traditionnelles telles qu

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Yeh, Bo-Chen, and 葉柏辰. "Phenomenological Approach to Digital Musical Instruments." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/55266132614152757786.

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碩士<br>國立交通大學<br>工學院聲音與音樂創意科技碩士學位學程<br>103<br>Abstract According to Heidegger philosophy of technology presented, this thesis criticizes that Digital Musical Instruments (DMIs) cannot be merely restricted to explore the field of an instrumental perspective. Instead, it should reveal the phenomenon of being as ‘the creation of poetic meaning’ to be existed, so as to be tilted toward the practice and creation of DMIs. In the field of HCI, there is an influential essay ‘The three paradigm of HCI’ presented by Harrison et al. in 2007, which is also perceived as a research framework in this thesis.

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Martin, Charles Patrick. "Apps, Agents, and Improvisation: Ensemble Interaction with Touch-Screen Digital Musical Instruments." Phd thesis, 2016. http://hdl.handle.net/1885/101786.

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This thesis concerns the making and performing of music with new digital musical instruments (DMIs) designed for ensemble performance. While computer music has advanced to the point where a huge variety of digital instruments are common in educational, recreational, and professional music-making, these instruments rarely seek to enhance the ensemble context in which they are used. Interaction models that map individual gestures to sound have been previously studied, but the interactions of ensembles within these models are not well understood. In this re

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Rodrigues, Mailis Gomes. "Intonaspacio : comprehensive study on the conception and design of digital musical instruments : interaction between space and musical gesture." Doctoral thesis, 2014. http://hdl.handle.net/10400.14/16724.

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Site-specific art understands that the place where the artwork is presented cannot be excluded from the artwork itself. The completion of the work is only achieved when the artwork and place intersect. Acoustically, sound presents a natural relation with place. The perception of sound is the result of place modulation on its spectral content, likewise perception of place is dependent on the sound content of that place. Even so, the number of sound artworks where place has a primary role is still very reduced. We thus purpose to create a tool to compose inherently place-specific sounds.

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Swift, Benjamin. "The design of a smartphone-based digital musical instrument for jamming." Phd thesis, 2012. http://hdl.handle.net/1885/151432.

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Open-ended human-computer interactions, such as those in interactive digital art and music, are an increasingly popular area of study in HCI. They provide an opportunity to examine playfulness, creativity and expression and challenge conventional HCI notions of quality, evaluation and how to measure success. Jamming-improvisational group music making-is often held up as an example of open-ended creativity. This thesis describes the development of Viscotheque, an iPhone- based digital musical instrument (DMI) designed for jamming, over three major design-test cycles. Over these three iteration

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