Relevant bibliographies by topics / Musical design

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Musical design'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Musical design"

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Bispham, John C. "Music's “design features”: Musical motivation, musical pulse, and musical pitch." Musicae Scientiae 13, no. 2_suppl (September 2009): 41–61. http://dx.doi.org/10.1177/1029864909013002041.

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This paper focuses on the question of what music is, attempting to describe those features of music that generically distinguish it from other forms of animal and human communication — music's “design features”. The author suggests that music is generically inspired by musical motivation — an intrinsic motivation to share convergent intersubjective endstates - and is universally identifiable by the presence of musical pulse — a maintained and volitionally controlled attentional pulse — and/or musical pitch — a system for maintaining certain relationships between pitches. As such music's design features are viewed as providing an interpersonal framework for synchronous and group affective interaction. The implications of this approach to an evolutionary perspective on music and on arguments of the primary evolutionary functionality of musical abilities in human evolution are discussed.
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Feaver, Douglas, and W. C. Scott. "Musical Design and Aeschylean Theatre." Classical World 79, no. 4 (1986): 285. http://dx.doi.org/10.2307/4349886.

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Paine, Garth. "New Musical Instrument Design Considerations." IEEE MultiMedia 20, no. 4 (October 2013): 76–84. http://dx.doi.org/10.1109/mmul.2013.60.

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Overholt, Dan. "The Musical Interface Technology Design Space." Organised Sound 14, no. 2 (June 29, 2009): 217–26. http://dx.doi.org/10.1017/s1355771809000326.

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This article presents a theoretical framework for the design of expressive musical instruments, the Musical Interface Technology Design Space: MITDS. The activities of imagining, designing and building new musical instruments, performing, composing, and improvising with them, and analysing the whole process in an effort to better understand the interface, our physical and cognitive associations with it, and the relationship between performer, instrument and audience can only be seen as an ongoing iterative work-in-progress. It is long-term evolutionary research, as each generation of a new musical instrument requires inventiveness and years of dedication towards the practice and mastery of its performance system (comprising the interface, synthesis and the mappings between them). Many revisions of the system may be required in order to develop musical interface technologies that enable us to achieve truly expressive performances. The MITDS provides a conceptual framework for describing, analysing, designing and extending the interfaces, mappings, synthesis algorithms and performance techniques for interactive musical instruments. It provides designers with a theoretical base to draw upon when creating technologically advanced performance systems, and can be seen as a set of guidelines for analysis, and a taxonomy of design patterns for interactivity in musical instruments. The MITDS focuses mainly on human-centred design approaches to realtime control of the multidimensional parameter spaces in musical composition and performance, where the primary objective is to close the gap between human gestures and complex synthesis methods.
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Rubenstein, W. Bradley. "A database design for musical information." ACM SIGMOD Record 16, no. 3 (December 1987): 479–90. http://dx.doi.org/10.1145/38714.38762.

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Arfib, Daniel, Jean-Michel Couturier, and Loïc Kessous. "Expressiveness and Digital Musical Instrument Design." Journal of New Music Research 34, no. 1 (March 2005): 125–36. http://dx.doi.org/10.1080/09298210500124273.

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Borchers, J., and M. Muhlhauser. "Design patterns for interactive musical systems." IEEE Multimedia 5, no. 3 (1998): 36–46. http://dx.doi.org/10.1109/93.713303.

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Johnston, Andrew. "Opportunities for Practice-Based Research in Musical Instrument Design." Leonardo 49, no. 1 (February 2016): 82–83. http://dx.doi.org/10.1162/leon_a_01121.

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This paper considers the relationship between design, practice and research in the area of New Interfaces for Musical Expression (NIME). The author argues that NIME practitioner-researchers should embrace the instability and dynamism inherent in digital musical interactions in order to explore and document the evolving processes of musical expression.
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van den Broek, P. M., and K. G. van den Berg. "Musical equational programs." ACM SIGPLAN Notices 31, no. 11 (November 1996): 56–65. http://dx.doi.org/10.1145/240964.240977.

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Pressing, Jeff. "Nonlinear Maps as Generators of Musical Design." Computer Music Journal 12, no. 2 (1988): 35. http://dx.doi.org/10.2307/3679940.

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Dissertations / Theses on the topic "Musical design"

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Wan, Elysa (Elysa Q. ). "Musical interfaces : design and construction of physical manipulatives for musical composition." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/40935.

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Thesis (S.B.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 2007.
Includes bibliographical references (leaf 19).
Currently, musical composition is considered to be a high-level skill that is inaccessible to young children. There is a "high floor" for children who want to create a piece of music because they must learn a way of recording and remembering the notes, their sequence, etc, such as musical notation. Our project explores tangible designs that will make music composition simple to learn and practice while also building an intuition about complex musical concepts. Three original designs of tangible interfaces for musical composition are introduced and the merits and limitations of each are explored using non-functional form models. Audio processing is performed on a peripheral computer running an audio program written specifically for each system. A "Wizard of Oz" approach was used to study user interactions with each design. Music Blocks are designed to be physical representations of inherently intangible musical notes. Each block represents a single note, and the user can modify its pitch and duration by changing the physical shape of the block. They resemble wooden building blocks and suggest the parallels between building structures and the organization of musical compositions and its melody. The Music Glove introduced the idea of using a sound recording instead of a musical note as the musical unit in a composition. This introduced rich ideas about nesting and recursion. At the same time the glove interface highlights the role of personal expression, interaction and affect in musical composition and performance. Here physical inputs of the system were related to the rhythms, tempos, and the tone of the composition. The system was more gestural, performance-oriented and more suited to spontaneous improvising. The Musical Leaves interface is a melding of the concepts for the Music Blocks and Glove. The individual Leaves reflect the modular structure and organization of the composition. At the same time, the Leaves can be manipulated in real-time to change pitch and volume and as a result are deeply expressive and flexible.
by Elysa Wan.
S.B.
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Hecker, Connie. "SCENIC DESIGN AND PROJECTION DESIGN FOR RAGTIME, THE MUSICAL." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334848506.

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Sugarbaker, Sarah. "Scenic design for the musical Godspell." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243614306.

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Raby, Melody Lynn Falco. "Apreciação musical em crianças com deficiência intelectual." reponame:Repositório Institucional da UFPR, 2015. http://hdl.handle.net/1884/38065.

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Orientadora: Profª. Drª. Valéria Lüders
Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Artes, Comunicação e Design, Programa de Pós-Graduação em Música. Defesa: Curitiba, 25/02/2015
Inclui referências
Resumo: A presente pesquisa teve por objetivo a investigação da aprendizagem da apreciação musical em crianças com deficiência intelectual. A definição de apreciação musical adotada é a de "processo de significação da música" (Barbosa, 2005, 2009; Waslawick, Camargo & Maheirie, 2007), abarcando discussões em torno dos objetivos da educação musical (Fonterrada, 2008; Penna, 2004; Benedetti & Kerr, 2010). As concepções de desenvolvimento e aprendizagem seguem o referencial teórico da Psicologia histórico-cultural, representada em especial por Vigotski (1998; 2007; 2009). Como objetivos específicos buscou-se a identificação dos tipos de respostas e termos empregados pelas crianças com deficiência intelectual em atividades de apreciação musical; o estudo da aprendizagem da percepção de elementos harmônicos em crianças com deficiência intelectual; e a relação da aprendizagem da apreciação musical com as habilidades de percepção, discriminação e formação de conceitos musicais, em crianças com deficiência intelectual. A metodologia escolhida foi a pesquisa-ação (Gil, 2008; Thiollent, 1986; Albino & Lima, 2009), que se caracteriza pelo envolvimento do pesquisador e dos pesquisados no processo de pesquisa, possibilitando que as crianças participassem de atividades musicais, mediadas pela pesquisadora e por outras crianças, de maneira a favorecer a identificação dos processos de aprendizagem atravessados pelas crianças ao longo de um trabalho de intervenção. O contexto da pesquisa foram duas escolas do sistema regular de ensino do município de São José dos Pinhais, Região Metropolitana de Curitiba/ PR, e foram organizados dois grupos de crianças, formados pelas crianças público-alvo da pesquisa e crianças com desenvolvimento típico. A coleta de dados junto às crianças foi organizada em encontros de avaliação individual (uma inicial, antes dos encontros de intervenção, e outra final, após os encontros), e de intervenção em grupo. Não se estabeleceu o objetivo de estudo comparativo. Os dados foram organizados para análise a partir da transcrição das avaliações individuais e das observações das intervenções, além dos registros em diário de campo, e o processo interpretativo teve como base a análise qualitativa. Os resultados evidenciam as possibilidades de trabalho sobre apreciação musical e percepção de elementos harmônicos com as crianças com deficiência intelectual, que demonstraram compreensão das tarefas e indícios de apropriação daqueles conhecimentos. Como contribuição para a Educação Musical para crianças com deficiência intelectual destaca-se a valorização do trabalho voltado para a construção de significados, que respeita as potencialidades de aprendizagem da criança com deficiência ao mesmo tempo em que oportuniza o acesso ao conhecimento musical socialmente construído. Palavras-chave: Educação musical, Apreciação musical, Deficiência intelectual, Psicologia histórico-cultural.
Abstract: This research investigated the education of children with intellectual disabilities through audience-listening of music. This work adopted the definition of "audience-listening" as the "process of signification in music" (Barbosa, 2005, 2009; Waslawick, Camargo & Maheirie, 2007), including some discussions over the objectives of musical education (Fonterrada, 2008; Penna, 2004; Benedetti & Kerr, 2010). The conceptions of development and learning followed the theoretical approach of cultural-historical Psychology, represented specially by Vigotski (1998; 2007; 2009). The specific goals of the research were: (i) to identify and classify the answers given by the children (and the words and terms used by them); (ii) to study the learning process of perception of the musical harmonic elements; (iii) to analyse the relationship between the audience-listening and the abilities of perception, discrimination and construction of musical concepts. The selected method was the "action research" (Gil, 2008; Thiollent, 1986; Albino & Lima, 2009) i.e., the researcher and the children were all involved in the research process at all times. The children participated in the musical activities, being subject of intervention and mediation between them, and from the researcher as well, so that the learning processes could be identified. The children were students of public schools in the city of São José dos Pinhais (located in the metropolitan area of Curitiba), and they were divided into two groups: children with intellectual disabilities and children considered to be in regular development. Data was collected both in group sessions as well as in individual evaluation sessions, performed before and after the interventions. There was no comparative study between the groups. The data analysis was organized from the transcription of the individual evaluation sessions, the observations of group sessions, and also from the field notes. The theoretical background for the data analysis was qualitative. The results suggested the possibility of educating children with intellectual disabilities using audience-listening and thus showing that they are able to perceive, comprehend and apprehend the tasks and the musical harmonic elements. In conclusion, the use of audience-listening as a form of education for children with intellectual disabilities may represent a concrete contribution to their development since it values the construction of significations and respects the children's potential for learning, at the same time granting them access to the socially constructed musical knowledge. Key words: Musical education, Audience listening, Intellectual disability, cultural-historical Psychology.
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Lameiras, Francisco Barroso. "Reinterpretação de um instrumental musical." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2017. http://hdl.handle.net/10400.5/14177.

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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 the instrument. The main goal of this thesis is to propose ways to improve the overall feel of digital musical instruments through the study and design of its physical interface: the instrument body, sensors and feedback actuators. It includes a detailed study of the existing theory and practice of the design on physical interfaces for digital musical instruments, including a survey of 266 existing DMIs presented since the inception of the NIME conference. From this, a number of differences become apparent between the existing theory and practice, particularly in the areas of sensors and feedback. The research in this thesis then addresses these differences. It includes a series of experiments on the optimal choice of sensors for a digital musical instrument. This is followed by research into the provision of vibrotactile feedback in a digital musical instrument, including the choice of actuator, modification of actuator frequency response, and the effects of response modification on human vibrotactile frequency discrimination. Following this, a number of new digital musical instruments are presented, which were created during the course of this work. This includes an instrument designed specifically to follow the results of research in this thesis and also instruments designed as part of larger collaborative projects involving engineers, composers and performers. Fro
Cette thèse porte sur l'étude de l'interaction ayant lieu, en situation de jeu,entre un(e) instrumentiste et un instrument musical numérique (IMN).A l'inverse des instruments acoustiques traditionnels, il n'existe aucun couplageentre le dispositif de production du son et l'interface sur laquelle agit l'instrumentistedans le cas des IMN. L'une des implications de cette observation est que cesinstruments ne procurent pas la rétroaction tactile normalement présente dans lesinstruments de musique traditionels. Par conséquent, les IMN sont souvent perçuspar leurs interprètes comme manquant d'âme, de personnalité.Le but de ce travail de thèse est d'avancer quelques solutions permettant d'insuer un peu plus âme à un instrument musical numérique. Le point focal de larecherche étant l'étude et la conception de l'interface physique (corps de l'instrument,capteurs et dispositifs de rétroaction utilisés) d'un tel instrument.Ce mémoire présente, en premier lieu, une étude détaillée de la théorie et de lapratique actuelles dans le domaine de la conception d'interfaces physiques pour lesIMN. L'inventaire des 266 instruments recensés depuis la création de la conférenceNIME constitue l'un des points majeurs de cette partie du travail. En effet, ce tour d'horizon permet de faire ressortir les incohérences entre théorie et pratique. Cesdifférences sont particulièrement frappantes en ce qui concerne les capteurs et lesdispositifs de rétroaction.Le travail de recherche de cette thèse a donc pour objectif de mieux comprendrecomment réduire ces incohérences. Des expériences portant sur le choix optimaldes capteurs à utiliser dans un IMN ont donc été menées. Différents dispositifs derétroaction vibrotactile ont aussi été étudiés en regardant d'abord quels actuateursutiliser, et en évaluant les effets de la modication de leur réponse en fréquencesur la discrimination fréquentielle de stimuli vibrotactiles chez des sujets humains.Des exemp
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Hollinger, Avrum. "Design of fMRI-compatible electronic musical interfaces." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116045.

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The designs of two functional magnetic resonance imaging-compatible electronic interfaces for use in neuropsychological studies involving musical tasks are presented. The devices, a two-button response box in the form of a computer mouse and a piano keyboard, were designed for rhythmic tapping and piano performance tasks, respectively. In order to correlate changes in neural activation acquired through magnetic resonance imaging (MRI) with task performance, the electronic collection of behavioural data, such as the timing of button or key presses was required. These behavioural measures were captured electronically and communicated to a host computer for synchronization with feedback, stimuli, and the MRI scanner itself. As well, data was logged for offline analysis. Due to the intense and volatile electromagnetic fields, most commercially-available electronic interfaces do not function properly and can even pose a serious safety hazard within the MRI scanner environment. Therefore these custom-designed interfaces were free of ferromagnetic parts and all electronic components were relegated to the control room outside of the scanner environment. Acquisition of button and key presses was accomplished using fibre optic sensors, which are immune to electromagnetic interference. The devices performed successfully within the scanner, and MRI scans showed no image artifacts caused by the prototypes. Sensing of key and button transition velocity was sufficient after extensive calibration. Next generation prototypes are planned and will implement more robust and tighter tolerance manufacturing, improved sensing techniques, the acquisition of isometric forces, and an auto-calibration scheme.
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Thibault, Samuel H. (Samuel Hunter) 1977. "MICK : a design environment for musical instruments." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/86843.

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Pina, Rosana Andrade Fortes de. "Design de comunicação aplicado à educação musical." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2013. http://hdl.handle.net/10400.5/12086.

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Dissertação de Mestrado para obtenção do grau de Mestre em Design de Comunicação, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.
Desde os primórdios, o homem teve a necessidade de comunicar e se expressar e fê-lo não só através de sons, como de elementos visuais, entre outros. A notação musical do Ocidente mais antiga surgiu com os Gregos e desde então tem evoluído. Na época contemporânea, ocorreu um salto extraordinariamente significativo, quando os compositores reconheceram que a notação clássica não era suficiente para comunicar as suas ideias sonoras, por um lado, e que, do ponto de vista visual, a notação musical pode ser uma oportunidade de expressão plástica. A presente investigação insere-se no campo da notação musical, procurando estabelecer a ponte entre a representação dos sons através de sinais gráficos, e o design de comunicação. Pretende-se saber se a legibilidade de uma partitura pode influenciar a aprendizagem em música e a performance instrumental, principalmente na fase inicial da aprendizagem de um instrumento. Para responder a esta interrogação recorre-se à revisão da literatura sobre pedagogia musical, transformações operadas ao longo do tempo na notação musical, considerando que a escrita de música é, tal como as escritas de outras linguagens, é um objecto de comunicação, no caso, entre o compositor e o intérprete. O estado da arte foi construído recorrendo, ainda, a entrevistas exploratórias a alunos que se encontram numa fase inicial de aprendizagem da linguagem musical e na aprendizagem de um instrumento, a professores de música e a compositores. Desta pesquisa fez parte uma recolha de partituras gráficas, que foram analisadas e criticadas com vista ao desenvolvimento do projecto prático, simultaneamente o objectivo específico mais importante e o resultado alcançado no âmbito da presente investigação. Deste modo, respondemos, afirmativamente, à questão de partida (Poderá um novo sistema de notação musical e de partitura gráfica, de apoio à aprendizagem e à performance, contribuir para agilizar a aprendizagem e minimizar o esforço de leitura?).
ABSTRACT: Since the beginnings, the man had the need to communicate and express and he made it not only through sounds as through visual elements and others. The an¬cient musical notation of the west, came up with the Greeks, and since then it as evolved. In contemporary era, occurred a jump dramatically significant when com¬posers recognized that the classical notation was not enough to communicate their sound ideas on one hand, and that in the visual point of view, the musical notation can be an opportunity for plastic expression. This investigation falls within the field of musical notation, seeking to establish the bridge between the representation of sounds by graphics signs, and the communi¬cation design. It is intended to know if the legibility of a score can influence learning in music and instrumental performance, especially in the early stage of learning an instrument. To answer this question we resort to the review of literature on music pedagogy, changes undertaken over time in musical notation, considering that writing music is as the writings of other languages, an object of communication, in this case, be¬tween the composer and the performer. The state of the art was built using also the exploratory interviews to students, who are at an early stage of learning the language of music and learning an instrument, music teachers and composers. Of this research it had made part, a collection of graphic scores, which were analysed and criticized in the view of the development of the practical project, simultaneously, the specific and the most important purpose and result achieved in the present investigation. Thus, we answer affirmatively to the question of departure « can a new system of musical notation and graphic score, of support learning and performance, help to expedite the learning and minimize the effort of reading?».
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Grimstad, Bang Tove. "Designing for Musical Bodies : An Exploration of the Musician–Instrument Relationship." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-292197.

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Drawing on phenomenology and the theory of embodied music cognition, and the idea that music is movement and the way we experience music is related to movement and to our bodies, the design and conception of a musical instrument is carried out through a soma design process, with the non-dualistic body at center. In addition to the use of design fiction as a means to imagine new design possibilities, practical somaesthetics are a part of the design process through the bodily practices of Dalcroze eurhythmics and instrument defamiliarisation. These continuous bodily practices provide space for explorations of musical, aesthetic sensitivities and contribute to the designer's attuning to their own body and discoveries of musical sensitivities therein. The experiential qualities of music--movement related rhythm and repetition are identified, and reflected in the design of the musical instrument. While interacting with the instrument does not necessarily provide direct immersion into those experiential qualities, nor an intimate musician--instrument relationship, it might however, open up a fertile breeding ground for new design directions and make space for new experiences. The design process itself, leading up to the instrument, was a great contribution to making room for exploring interactions with the body, movement and music.
Med utgångspunkt i fenomenologi och teorin om förkroppsligad musikkognition, samt iden att musik ar rörelse och att hur vi upplever musik ar relaterat till rörelse och vara kroppar, har designen och skapandet av ett musikinstrument utförts genom en soma-designprocess, med den icke-dualistiska kroppen i centrum.  Utöver användandet av designfiktion som ett satt att föreställa sig nya designmöjligheter, ingår praktisk somaestetik som en del av designprocessen via dem kroppsliga praktikerna Dalcroze-rytmik och instrument-främmandegöring. Dessa kontinuerliga, kroppsliga praktiker ger utrymme for utforskning av musikaliska och estetiska mottagligheter och bidrar till designerns själsstämning av sin egen kropp, samt upptäckter av musikaliska mottagligheter inuti densamma.  De empiriska kvaliteterna hos musik-rörelserelaterad rytm och repetition identifieras och återspeglas därefter i utformningen av musikinstrumentet. Aven om interaktion med instrumentet inte nödvändigtvis leder till en direkt upplevelse av dessa kvaliteter, eller en intim musiker-instrument-relation, sa kan den emellertid lagga en bördig grogrund for nya designriktningar och skapa utrymme for nya upplevelser. Själva designprocessen, som lett fram till instrumentet, gav stora möjligheter till att skapa plats for att utforska interaktioner med kroppen, rörelse och musik.
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Books on the topic "Musical design"

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Introduction to musical design. Dubuque, IA: W.C. Brown, 1992.

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Musical design in Sophoclean theater. Hanover: Dartmouth College, 1996.

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Bulleid, H. A. V. Cylinder musical box design and repair. Binghamton, N.Y: Almar Press, 1987.

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Toy instruments: Design, nostalgia, music. New York: Mark Batty, 2010.

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Lawson, Walter A. French horn mouthpieces: Material and design. [Boonsboro, Md.]: Lawson Brass Instruments, 1990.

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Butler, Mark J. Unlocking the groove: Rhythm, meter, and musical design in electronic dance music. Bloomington: Indiana University Press, 2005.

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Taylor, Clifford. Musical idea and the design aesthetic in contemporary music: A text for discerning appraisal of musical thought in western culture. Lewiston, NY: Edwin Mellen Press, 1990.

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Hopkin, Bart. Air columns and toneholes: Principles for wind instrument design. Willits, CA: Tai Hei Shakuhachi, 1999.

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Robinson, Larry. The art of inlay: Contemporary design & technique for musical instruments, fine woodworking & objets d'art. San Francisco: Miller Freeman Books, 1994.

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Robinson, Larry. The art of inlay: Contemporary design & technique for musical instruments, fine woodworking & objets d'art. San Francisco: Miller Freeman Books, 1999.

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Book chapters on the topic "Musical design"

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Frohlich, David M. "Musical Photographs." In Fast Design, Slow Innovation, 41–69. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-21939-4_3.

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Lindemann, Anna, and Eric Lindemann. "Musical Organisms." In Computational Intelligence in Music, Sound, Art and Design, 128–44. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77583-8_9.

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Slaton, Shannon. "Design Team’s Job." In Mixing a Musical, 137–40. Second edition. | New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351033060-11.

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Slaton, Shannon. "Design Team’s Job." In Mixing a Musical, 167–70. Second edition. | New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351033060-17.

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Slaton, Shannon. "Design Team’s Job." In Mixing a Musical, 59–68. Second edition. | New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351033060-5.

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Riley, Scott. "Expectation, Surprise, and the Musical Interface." In Mindful Design, 121–57. Berkeley, CA: Apress, 2018. http://dx.doi.org/10.1007/978-1-4842-4234-6_4.

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Turchet, Luca, and Mathieu Barthet. "Smart Musical Instruments." In Foundations in Sound Design for Embedded Media, 275–96. New York : Routledge, [2019] | Series: Sound design ; volume 3: Routledge, 2019. http://dx.doi.org/10.4324/9781315106359-11.

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Allen, Kevin Lee. "Chaplin: The Musical on Broadway." In Vectorworks for Entertainment Design, 315. Second edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429290671-39.

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Calegario, Filipe. "Design Process." In Designing Digital Musical Instruments Using Probatio, 19–30. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-02892-3_3.

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Braga, Francisco, and H. Sofia Pinto. "Sculpture Inspired Musical Composition." In Artificial Intelligence in Music, Sound, Art and Design, 3–19. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72914-1_1.

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Conference papers on the topic "Musical design"

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Gonçalves, Luan, and Flávio Luiz Schiavoni. "The development of libmosaic-sound: a library for sound design and an extension for the Mosaicode Programming Environment." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10429.

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Music has been influenced by digital technology over the last few decades. With the computer, the musical composition could trespass the use of acoustic instruments demanding to musicians and composers a sort of computer programming skills for the development of musical applications. In order to simplify the development of musical applications, several tools and musical programming languages arose bringing some facilities to lay-musicians on computer programming to use the computer to make music. This work presents the development of a Visual Programming Language (VPL) for audio applications in the Mosaicode programming environment, simplifying sound design and making the synthesis and manipulation of audio more accessible to digital artists. It is also presented the implementation of libmosaic-sound library for the specific domain of Music Computing, which supported the VPL development.
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Souza, Pedro, Vitor Rolla, José Eduardo Ayres, and José Ezequiel Sánchez. "Graph Composer: music composition from graph design." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10455.

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The Graph Composer is an app that allows the user to compose music through the design of a graph. You can create or modify an existing graph, listen and modify the composition in real time. Insert new nodes and connect them, change the corresponding note by clicking over the node and selecting a new one from the scale, define it’s duration over time and select a decoration to change the sound sequence.
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Costalonga, Leandro, Daniel Coura, Marcus Vinícius Das Neves, Fabiano Costa, and Helder Rocha. "NESCoM Research Report (2019)." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10437.

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The NESCoM is a multidisciplinary research center formed by musicians, engineers and computer scientists. The main research interest lies with sonology, audiotacticle musical analysis, ubiquitous music, interactive multimedia installations, and the design of computer music technology in general. Overall, the common ground for the NESCoM projects lies with the human-aspects, both cognitive and motor, behind a musical activity. This can come, for instance, in the shape of an audiotactile analysis of musical interaction applied to a new digital musical interface designed to overcome human physical constraints or the composition of a cinema soundtrack based on perceptual models of the audience. In this paper, it is reported a short description of the ongoing projects of the NESCoM and the future works.
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Perez, Mauricio, Rodolfo Coelho De Souza, and Regis Rossi Alves Faria. "Digital Design of Audio Signal Processing Using Time Delay." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10449.

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This poster describes the design in PureData of some audio signals processes in real time like delay, echo, reverb, chorus, flanger e phaser. We analyze the technical characteristics of each process and the psychoacoustic effects produced by them in human perception and audio applications. A deeper comprehension of the consequences of sound processes based on delay lines helps the decision-making in professional audio applications such as the audio recording, mixing, besides music composition that employs sound effects in preprocessed or real-time.
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Costalonga, Leandro, and Marcelo Pimenta. "Cognitive Offloading: Can ubimus technologies affect our musicality?" In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10427.

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An interaction design that lean towards musical traits based on and constrained by our cognitive and biological system could, not only provide a better user experience, but also minimize collateral effects of excessive use of such technology to make music. This paper presents and discuss innate abilities involved in musical activities that - in the authors´ viewpoint - could be considered in design guidelines to computer music technologies, especially those related to ubimus.
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Zeng, Ruihao, Ao Lei, and Guangyi He. "Research on Musical Changemakers based on Music Influence." In 2021 International Conference on Computer Technology and Media Convergence Design (CTMCD). IEEE, 2021. http://dx.doi.org/10.1109/ctmcd53128.2021.00044.

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Hoppe, Aurelio F., Evandro M. Miletto, Luciano V. Flores, and Marcelo S. Pimenta. "Cooperation in musical prototypes design." In 2009 13th International Conference on Computer Supported Cooperative Work in Design. IEEE, 2009. http://dx.doi.org/10.1109/cscwd.2009.4968140.

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Taylor, Tanasha, Shana Smith, and Karljohan L. Palmerius. "A Virtual Harp for Therapy in an Augmented Reality Environment." In ASME 2008 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/detc2008-50034.

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The goal of this research study was to develop a music therapy tool using a computer-generated harp which could provide users with visual, audio, and haptic feedback during interaction with the virtual instrument. Realistic 3D visual and haptic feedback was provided through immersion in a portable augmented reality-based system composed of a video see-through head mounted display (HMD) and a Sensable Phantom Omni haptic device. Users play the virtual harp by using the Phantom Omni haptic device to pluck or strum the strings of the harp. Users can also freely move the harp in the augmented reality environment to provide a more realistic experience, similar to that of playing a traditional musical instrument. The system will be used to provide interactive musical experiences and to develop motor skills among individuals with disabilities through music therapy. A virtual therapist feature was developed which can be used by a therapist without musical knowledge to observe a user during therapy exercises or by a user to engage in self-motivated therapy exercises outside the therapy room. With the virtual therapy feature, users can follow a simple pre-determined sequence of notes using color-coded strings. User testing was completed to study usability, therapeutic effectiveness, and patients’ therapy motivation.
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Ho, Wen-Shing. "Invention of Musical Notation Applying the Musical Notation to the Cinematic Art Language." In 2015 International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.31.

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Yakoupov, Alexander. "The Structure of Musical Communication." In 2015 International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.56.

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Reports on the topic "Musical design"

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Irminger, Bente. A growing interest in creativity is opening up new roles for the designer- but also creating a need for clarification of these roles. Universitetet i Bergen KMD, January 2018. http://dx.doi.org/10.22501/kmd-ar.1090256.

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Bente Irminger, ‘A growing interest in creativity is opening up new roles for the designer- but also creating a need for clarification of these roles‘, Faculty of Fine Art, Music and Design, University of Bergen
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Irminger, Bente. Økt interesse for kreativitet åpner for nye designerroller- men skaper også behov for rolleavklaringer. Universitetet i Bergen KMD, January 2018. http://dx.doi.org/10.22501/kmd-ar.1090265.

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Rysjedal, Fredrik. Frozen Moments in Motion. Universitetet i Bergen KMD, January 2019. http://dx.doi.org/10.22501/kmd-ar.31524.

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What are the concepts of motion in digital comics? What types of motion can be used in comics and how does motion affect the presentation, the story and even the reader/viewer? This project is a part of the Norwegian Programme for Artistic Research, and it's executed at the Bergen Academy of Art and Design, today called Faculty of Fine Art, Music and Design at the University of Bergen.
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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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