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Journal articles on the topic 'Musical design'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Vantomme, Jason D., and David Cope. "Bach by Design: Experiments in Musical Intelligence." Computer Music Journal 19, no. 3 (1995): 66. http://dx.doi.org/10.2307/3680660.

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12

Hopkin, Bart. "Trends in New Acoustic Musical Instrument Design." Leonardo Music Journal 1, no. 1 (1991): 11. http://dx.doi.org/10.2307/1513114.

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13

Roberts, Deborah H. "Book Review: Musical Design in Sophoclean Theater." American Journal of Philology 119, no. 1 (1998): 123–25. http://dx.doi.org/10.1353/ajp.1998.0010.

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14

Kelnar, Alison F., Julie Ives, and C. Michael Lambert. "Musical chairs: ergonomic considerations in chair design." British Journal of Therapy and Rehabilitation 2, no. 1 (January 2, 1995): 17–22. http://dx.doi.org/10.12968/bjtr.1995.2.1.17.

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15

Henrique, Luis, Jose Antunes, and Joao S. Carvalho. "Shape optimization techniques for musical instrument design." Journal of the Acoustical Society of America 112, no. 5 (November 2002): 2210. http://dx.doi.org/10.1121/1.4778702.

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Henrique, Luis, José Antunes, and João Soeiro de Carvalho. "Shape optimization techniques for musical instrument design." Journal of the Acoustical Society of America 110, no. 5 (November 2001): 2648. http://dx.doi.org/10.1121/1.4776990.

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17

Hamer, John. "A musical approach to teaching design patterns." ACM SIGCSE Bulletin 34, no. 3 (September 2002): 197. http://dx.doi.org/10.1145/637610.544478.

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18

Major, Angela. "Refraining curriculum design." British Journal of Music Education 13, no. 3 (November 1996): 183–93. http://dx.doi.org/10.1017/s0265051700003223.

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Many music teachers in Secondary Schools, when designing schemes of work, use music elements, concepts and musical devices as a focus for choosing holistic practical activities. The idea behind such a practice appears to be to enable pupils to understand more clearly these concepts through reinforcement in listening and performing activities and through the application of the device to their composing tasks. While still retaining an important place in the curriculum for concepts/music elements, it is suggested that curriculum schemes might be built around the mastery of a wide range of skills. A new way of thinking about curriculum design in music is sought, to enable a more effective musical experience for pupils.

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19

Paine, Garth. "Towards Unified Design Guidelines for New Interfaces for Musical Expression." Organised Sound 14, no. 2 (June 29, 2009): 142–55. http://dx.doi.org/10.1017/s1355771809000259.

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The use of a laptop computer for musical performance has become widespread in the electronic music community. It brings with it many issues pertaining to the communication of musical intent. Critics argue that performances of this nature fail to engage audiences because many performers use the mouse and/or computer keyboard to control their musical works, leaving no visual cues to guide the audience as to the correlation between performance gestures and musical outcomes. The author will argue that interfaces need to communicate something of their task and that cognitive affordances (Gibson 1979) associated with the performance interface become paramount if the musical outcomes are to be perceived as clearly tied to real-time performance gestures – in other words, that the audience are witnessing the creation of the music in that moment as distinct to the manipulation of pre-recorded or pre-sequenced events. Interfaces of his kind lend themselves particularly to electroacoustic and computer music performance where timbre, texture and morphology may be paramount.

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20

Limin, Wei. "Diagnosis of creative self-realization of undergraduates in musical art." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 66, no. 3 (2019): 150–55. http://dx.doi.org/10.33310/2518-7813-2019-66-3-150-155.

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The article presents a methodology for diagnosing experimentally identifying a vivid vividness of the formations of creative self-realization of the magistrates of the musical mystery in the process of the choir-choir movement. Today’s master student of musical mystery in Prague has expanded the horizons of musically-vikonavsky, musically-creative talents, be aware of alternative musical and pedagogical activities, deny your own selfrealization, and learn more about the Criteria have been introduced to the testimonials of the pre-approved approval. The following methods were implemented: methods of nutrition, ranking; diagnostic experiment. By a method of conducting a diagnostic experiment, a voucher of a vivid vividness of the formations of creative selfrealization of magistrates of a musical mystery was formed. So, we conducted a questionnaire with masters of the musical mystery in order to ensure that they are put before creative self-realization. Dalі, the students were blown away for profiling, according to the world’s significance, the components of creative self-realization (cognitivemotivational, gnostic-tsilovy, communicative-constructive, techno-design, creative-design). There was a great deal of discussion with the knowledge of respondents from day to day, the significance of the structure of the previous construct. Prospects for fake science rozvidok vbacha вmo in the development of experimental models of creative self-realization of magistrants of musical mystery. From now on, an analysis of the results of our achievement so that I can actualize respect for the fact that the period of fierce joining the masters of the musical mystery is characterized by their need for creative self-realization. Vrakhova’s students, on purpose, looked at selfsustainability and student initiative, as well as indicators of their creative self-realization from the choir choir.

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21

Yoo, Min-Joon, and In-Kwon Lee. "Creating Musical-Fountain Shows." IEEE Computer Graphics and Applications 29, no. 5 (September 2009): 6–13. http://dx.doi.org/10.1109/mcg.2009.91.

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22

Riecken, Doug. "WOLFGANG: "Emotions" and Architecture Which Bias Musical Design." Leonardo 28, no. 3 (1995): 225. http://dx.doi.org/10.2307/1576079.

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23

Fowler, Michael. "Appropriating an architectural design tool for musical ends." Digital Creativity 22, no. 4 (December 2011): 275–87. http://dx.doi.org/10.1080/14626268.2011.622286.

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24

McLachlan, Neil M. "The design and analysis of new musical bells." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2565. http://dx.doi.org/10.1121/1.4784017.

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25

Fastl, Hugo. "Sound design of machines from a musical perspective." Noise News International 12, no. 2 (June 1, 2004): 54–61. http://dx.doi.org/10.3397/1.3703063.

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26

Martin, Charles P. "Percussionist-Centred Design for Touchscreen Digital Musical Instruments." Contemporary Music Review 36, no. 1-2 (March 4, 2017): 64–85. http://dx.doi.org/10.1080/07494467.2017.1370794.

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27

Ryan, Joel. "Some remarks on musical instrument design at STEIM." Contemporary Music Review 6, no. 1 (January 1991): 3–17. http://dx.doi.org/10.1080/07494469100640021.

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28

Alt, Norbert, and Stephan Jochum. "Sound design from the aspect of musical harmony." MTZ worldwide 64, no. 1 (January 2003): 20–24. http://dx.doi.org/10.1007/bf03228023.

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29

Herliana, Emmelia Tricia. "ANALOGI MUSIK-ARSITEKTUR MELALUI PROSES TRANSFORMASI PADA SIMULASI PERLUASAN GEREJA KATEDRAL BOGOR." Jurnal Arsitektur KOMPOSISI 10, no. 1 (May 1, 2017): 57. http://dx.doi.org/10.24002/jars.v10i1.1054.

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The selection of appropriate approaches for specific design project is the most creative step in a design process. In the recent research report (Herliana 2010), the approach which is derived from auditorial sensation through a conceptual interpretation of the characteristics of liturgical music in the Catholic Church explores the analogy of the musical composition elements and the architectural elements of design. The aim of this study is to implement the interpretation of the analogous of musical composition elements to the simulation in designing the extension of Cathedral Church in Bogor. The synthetic process explores a new configuration pattern of form and space - through the superimposition method of site-pattern interpretation and sound-pattern interpretation - to create a new order. The result is the re-arrangement of the form and space configuration through the process of creating “musical composition” in site, such as maintaining the hierarchy of site and the building structure, creating melodies, elaborating modulations, giving the ornaments, adding accents, and making rhyme; by strengthening dominant patterns and weakening sub-dominant patterns.Keywords: conceptual interpretation, analogy in Architecture, musical elements, superimposition methodAbstrak: Proses pencarian dan pemilihan pendekatan yang paling tepat untuk suatu kasus proyek yang spesifik adalah tahap yang memerlukan kreatifitas dan paling menentukan di dalam proses merancang. Pada artikel hasil penelitian penulis (Herliana 2010), telah disebutkan mengenai pendekatan yang bersumber dari sensasi bunyi melalui interpretasi konseptual karakteristik musik liturgi pada Gereja Katolik untuk merumuskan analog dari unsur-unsur komposisi musikal terhadap unsur-unsur arsitektural pada perancangan perluasan Gereja Katedral. Tulisan yang merupakan hasil penelitian mengenai proses desain ini bertujuan untuk menerapkan analog-analog dari unsur komposisi musikal pada simulasi perancangan perluasan bangunan Gereja Katedral di Bogor. Proses sintesis dilakukan dengan mencari konfigurasi ruang dan bentuk yang baru melalui metoda superimposisi dari interpretasi pola lahan dan interpretasi pola bunyi yang terjadi pada lahan untuk menciptakan keteraturan. Hasilnya adalah penataan ulang terhadap konfigurasi ruang dan bentuk melalui proses menciptakan “komposisi musikal” pada lahan, seperti dengan mempertahankan hirarki ruang pada struktur bangunan dan “site”, pembentukan melodi, pengolahan modulasi, pemberian ornamen, menambahkan aksen, dan membuat syair; dengan memperkuat pola yang dominan.Kata kunci: interpretasi konseptual, analogi dalam Arsitektur, unsur-unsur musikal, metoda superimposisi

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30

Serafin, Stefania, Cumhur Erkut, Juraj Kojs, Niels C. Nilsson, and Rolf Nordahl. "Virtual Reality Musical Instruments: State of the Art, Design Principles, and Future Directions." Computer Music Journal 40, no. 3 (September 2016): 22–40. http://dx.doi.org/10.1162/comj_a_00372.

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The rapid development and availability of low-cost technologies have created a wide interest in virtual reality. In the field of computer music, the term “virtual musical instruments” has been used for a long time to describe software simulations, extensions of existing musical instruments, and ways to control them with new interfaces for musical expression. Virtual reality musical instruments (VRMIs) that include a simulated visual component delivered via a head-mounted display or other forms of immersive visualization have not yet received much attention. In this article, we present a field overview of VRMIs from the viewpoint of the performer. We propose nine design guidelines, describe evaluation methods, analyze case studies, and consider future challenges.

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31

Fowler, Michael. "Transmediating a Japanese Garden through Spatial Sound Design." Leonardo Music Journal 21 (December 2011): 41–49. http://dx.doi.org/10.1162/lmj_a_00060.

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There have been numerous artists, architects and designers whose encounters with traditional Japanese garden aesthetics have produced creative works. The author examines John Cage's Ryoanji, a musical translation of the famous karesansui garden in Kyoto, as an important musical precedent and uses it to position his own methodologies for transmediating the spatial predilections of the Japanese garden Sesshutei. He also documents various mapping techniques and data visualizations used to inform his recent multi-channel sound installation/performance environment, Sesshutei as a spatial model.

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32

Manchester, Ralph A. "Musical Instrument Ergonomics." Medical Problems of Performing Artists 21, no. 4 (December 1, 2006): 157–58. http://dx.doi.org/10.21091/mppa.2006.4033.

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David Nabb's interview of Maarten Visser on page 159 of this issue and Brenda Wristen's article on the 7/8ths keyboard from the March issue are two recent examples of articles on musical instrument ergonomics. Ergonomics, literally the study of work, is defined as "the applied science of equipment design intended to maximize productivity by reducing operator fatigue and discomfort." When I was an undergraduate student at Tufts University in the 1970s, my engineering roommate studied "human factors engineering" (but never applied it to music, as far as I know). In 2006, a Google search for "ergonomic musical instruments" yields over 1 million websites; a search for "musical instruments" yields 16 million websites.

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33

Luchmansyaroni, Aditya Wahyu. "Design a Guitar Effects Controller Using a Wireless System." Jurnal Jartel: Jurnal Jaringan Telekomunikasi 5, no. 2 (November 1, 2017): 42–45. http://dx.doi.org/10.33795/jartel.v5i2.203.

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Wireless is a wireless network technology that can be used for voice and data communications. The need for a wireless network system makes the need for technology grow very rapidly starting from communication and data transmission media, one of the technological developments in data transmission media. One of them is in the field of music. Most of the musical instruments such as microphones, bass guitars, acoustic guitars, and electric guitars already use wireless. This can facilitate the movement of these musical players while playing their musical instruments on stage. Therefore, a wireless device for guitar effects is designed that is directly connected to a guitar instrument. This system itself aims to facilitate the movement of guitar players on stage and can also activate guitar effects without the need to step on the guitar pedals at their feet.

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34

Gribenski, Fanny. "Nature's “Disturbing Influence”: Sound and Temperature in the Age of Empire." 19th-Century Music 45, no. 1 (2021): 23–36. http://dx.doi.org/10.1525/ncm.2021.45.1.23.

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Today, knowledge concerning the relationship between temperature and musical pitch shapes many dimensions of Western musical practice, from the ambient conditions of performance sites to the design of musical instruments, and performers’ routines and techniques. But the history of how temperature came to play such a defining role in musical cultures remains unexamined. This article lays the foundations for such work by approaching musical instruments as sites of negotiation between acousticians, instrument makers, and players on the one hand, and music's variegated environments on the other. First, the article shows that the conceptualization of pitch in relation to temperature was a by-product of nineteenth-century international negotiations over musical standardization. These debates reveal that, while assessing the relation between pitch and temperature may seem like a decisive step toward the regulation of musical frequencies, in fact it was the source of countless epistemological and sociopolitical problems. Next, the article turns to David J. Blaikley, a British maker of wind instruments, whose experiments on the influence of extreme temperature variations on army-band instruments revealed the limits of Western attempts to control sound on a global scale, including in colonial contexts. Finally, I trace the implications of this new awareness of the interplay between sound and the environment to expose the silent ways in which that awareness continued to inform Western musical practice into the 1940s and beyond.

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35

Drăgoi, Eugen. "Suportul creativității în muzica și sound designul unui spectacol de teatru muzical." Tehnologii informatice și de comunicație în domeniul muzical / Information and communication Technologies in Musical Field XI, no. 1 (November 1, 2020): 93–102. http://dx.doi.org/10.47809/ictmf.2020.01.10.

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36

Valbom, Leonel, and Adérito Marcos. "An Immersive Musical Instrument Prototype." IEEE Computer Graphics and Applications 27, no. 4 (July 2007): 14–19. http://dx.doi.org/10.1109/mcg.2007.76.

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37

Magalhães, José Pedro, and W. Bas de Haas. "Functional modelling of musical harmony." ACM SIGPLAN Notices 46, no. 9 (September 18, 2011): 156–62. http://dx.doi.org/10.1145/2034574.2034797.

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38

Carnegie, Dale Anthony, Mo Zareei, Jim Murphy, and Craig Watterson. "An Inclusive Musical Mechatronics Course." International Journal of Engineering Pedagogy (iJEP) 7, no. 1 (February 28, 2017): 151. http://dx.doi.org/10.3991/ijep.v7i1.6641.

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This paper presents the design of a novel course in mechatronics, based on a project-based learning pedagogical philosophy that uses music as the theme to introduce to a diverse range of learners, the essential concepts of mechatronic practice. The course is designed at a post-graduate level and is targeted at international students who are likely to have a diverse range of background knowledge and potentially even a greater diversity in practical experience. The course builds upon our knowledge and capability in the construction or instrumentation of musical devices and cumulates in the design of a new mechatronic chordophone and the preparation of an IEEE conference paper submission.

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39

Schmidt, Ulrik. "Musik og design. Phil spector og lydfladens medialisering." K&K - Kultur og Klasse 39, no. 111 (June 25, 2011): 127–49. http://dx.doi.org/10.7146/kok.v39i111.15760.

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MUSIC AND DESIGN. PHIL SPECTOR AND SOUNDSCAPES MEDIATIZATIONPhil Spector is often referred to as one of history’s first true music producers, and his famed ‘Wall of Sound’ has been the model for many future musical productions. However, Spector’s productions can also be seen as an early manifestation, among others, of a much more general change in the auditory popular culture around 1960 away from the conventional approach to musicalsound as something that depends primarily on a musical performance and secondarily its technical reproduction S towards a conception of music as a form of design. Hence, Spector’s productions make a favorable material for a more general investigation of the relationship between music and design. Despite the rather extensive literature on Spector and his music, and on sound recording and sound production in general, the different aspects of Spector’s design have not yet been the subject of a broader phenomenological and aesthetic investigation. “Music and Design” explores the key elements in Spector’s musical project through an analysis of his use of repetition, accumulation and synthetized sound in hit recordings such as He’s a Rebel (1962) and Be My Baby (1963). It is argued that Spector’s productions are basically characterized by a displacement of the auditory focus from external media conditions, to musical sound as simultaneously a more synthetic and mediatized as well as moremassive and ‘massified’ soundscape. This mediatization of the soundscape would later constitute a predominant aesthetic model not only in current music production, but in modern sound design in general.

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40

Lupone, Michelangelo, Laura Bianchini, Silvia Lanzalone, and Alessio Gabriele. "Research at Rome's Centro Ricerche Musicali on Interactive and Adaptive Installations and on Augmented Instruments." Computer Music Journal 44, no. 2-3 (2020): 133–58. http://dx.doi.org/10.1162/comj_a_00570.

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Abstract Established in 1988 by composers Laura Bianchini and Michelangelo Lupone, the Centro Ricerche Musicali (CRM) in Rome was officially recognized in 1990 as a Music Research Center by the Ministry for University Education and Scientific and Technological Research. The Center focuses on musical production in relation to new technologies, in order to create a continual interaction among musical language, scientific thought, and technological resources. The staff at CRM, comprising musicians, technicians, visual artists, architects, information technology specialists, engineers, and researchers, aim to promote study of the aesthetic, analytical, and scientific aspects of music. In the beginning, research at CRM concerned the design and development of specific hardware devices for live electronics and composition, such as the Fly10 (1983–1985) and Fly30 (1990) systems. Subsequent studies on a physical model for the bow-and-string system in 1997 gave rise to the development of virtual musical instruments. From 1999 onwards, other areas of research have included interactivity and adaptivity applied to musical forms, the development of specific technologies for sound art installations and sculptural–musical works, and augmented instruments such as the Feed-Drum, SkinAct, WindBack, and ResoFlute. This article presents a brief history of CRM and some artistic productions by composers working at the Center.

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41

Flores, Luciano V., Maria Helena De Lima, Marcelo S. Pimenta, Victor Lazzarini, and Damián Keller. "Methods in Creativity-Centered Design for Ubiquitous Musical Activities." ScientiaTec 2, no. 2 (September 1, 2015): 25–37. http://dx.doi.org/10.35819/scientiatec.v2i2.1468.

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In this paper we describe a set of creativity-centered design methods, including strategies for interaction, signal processing, planning, prototyping and assessment. These were applied in the development of a prototype for mixing in mobile devices, which was assessed in an exploratory field study. We briefly discuss the implications of this experience for future experiments targeting aspects of creative performance in everyday settings.

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42

조진숙 and 유선아. "A Study on Stage Costume Design for the Musical." Journal of Korea Design Forum ll, no. 20 (August 2008): 7–18. http://dx.doi.org/10.21326/ksdt.2008..20.001.

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43

Turchet, Luca. "Smart Musical Instruments: Vision, Design Principles, and Future Directions." IEEE Access 7 (2019): 8944–63. http://dx.doi.org/10.1109/access.2018.2876891.

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44

Vallis, Owen, and Ajay Kapur. "Community-Based Design: The Democratization of Musical Interface Construction." Leonardo Music Journal 21 (December 2011): 29–34. http://dx.doi.org/10.1162/lmj_a_00058.

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The advent of on-line communities has democratized the process of musical interface design and allowed users to directly participate in the future development of the devices they use. On-line communities, acting as centralized repositories for information pertaining to the development of an interface, allow users to discuss their experiences and ideas as well as providing a framework for managing information pertaining to an interface. This centralized access to information regarding the design, use and development of an interface both focuses and accelerates the developmental process.

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45

Vickers, Paul, and James L. Alty. "Musical program auralisation: a structured approach to motif design." Interacting with Computers 14, no. 5 (October 2002): 457–85. http://dx.doi.org/10.1016/s0953-5438(02)00004-8.

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46

GARDEN, G. "POETIC DESIGN AND MUSICAL STRUCTURE IN CAMPRA'S CANTATA AIRS." Music and Letters 78, no. 1 (February 1, 1997): 24–44. http://dx.doi.org/10.1093/ml/78.1.24.

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47

Hamer, John. "An approach to teaching design patterns using musical composition." ACM SIGCSE Bulletin 36, no. 3 (September 2004): 156–60. http://dx.doi.org/10.1145/1026487.1008038.

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48

Sugaya, Satoshi, Robin M. Kina, Yasushi Matoba, Makoto Koumura, Saechout Vichai, and Seiji Hirai. "Electronic musical instrument shoe in consideration of universal design." IEEJ Transactions on Electrical and Electronic Engineering 6, S1 (December 28, 2010): S96—S97. http://dx.doi.org/10.1002/tee.20627.

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Sider, David. "Musical Design in Aeschylean Theater by William C. Scott." Comparative Drama 19, no. 3 (1985): 277–78. http://dx.doi.org/10.1353/cdr.1985.0005.

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Pereira, Eluanna Neves Ribeiro das Neves, and Rogério Zanetti Gomes. "Mídias físicas na indústria fonográfica brasileira: uma abordagem gráfica e emocional do design." Projetica 12, no. 1 (April 9, 2021): 220. http://dx.doi.org/10.5433/2236-2207.2021v12n1p220.

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Abstract:

O artigo investiga a indústria fonográfica brasileira quanto às mídias de reprodução musical e sua relação afetiva com o usuário. Apresenta um panorama histórico dos suportes gráficos utilizados e resgata parte da teoria do design emocional para compreender a interação do indivíduo com meios físicos e digitais. O levantamento de dados através de questionário virtual foi realizado juntamente à entrevista com o pesquisador Egeu Laus, a fim de verificar a relação do usuário com os suportes musicais, com enfoque na experiência obtida pela mídia física.

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