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Littérature scientifique sur le sujet « Accessible digital musical instruments »

Auteur : Grafiati

Publié le 9 mars 2023

Mis à jour le 31 juillet 2025

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Articles de revues sur le sujet "Accessible digital musical instruments"

Frid, Emma. "Accessible Digital Musical Instruments—A Review of Musical Interfaces in Inclusive Music Practice." Multimodal Technologies and Interaction 3, no. 3 (2019): 57. http://dx.doi.org/10.3390/mti3030057.

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Current advancements in music technology enable the creation of customized Digital Musical Instruments (DMIs). This paper presents a systematic review of Accessible Digital Musical Instruments (ADMIs) in inclusive music practice. History of research concerned with facilitating inclusion in music-making is outlined, and current state of developments and trends in the field are discussed. Although the use of music technology in music therapy contexts has attracted more attention in recent years, the topic has been relatively unexplored in Computer Music literature. This review investigates a tot

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Gonçalves, Luan Luiz, and Flávio Luiz Schiavoni. "Creating Digital Musical Instruments with libmosaic-sound and Mosaicode." Revista de Informática Teórica e Aplicada 27, no. 4 (2020): 95–107. http://dx.doi.org/10.22456/2175-2745.104342.

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Music has been influenced by digital technology over the last few decades. With the computer and the Digital Musical Instruments, 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 Lang

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Davanzo, Nicola, and Federico Avanzini. "Hands-Free Accessible Digital Musical Instruments: Conceptual Framework, Challenges, and Perspectives." IEEE Access 8 (2020): 163975–95. http://dx.doi.org/10.1109/access.2020.3019978.

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Samuels, Koichi, and Franziska Schroeder. "Performance without Barriers: Improvising with Inclusive and Accessible Digital Musical Instruments." Contemporary Music Review 38, no. 5 (2019): 476–89. http://dx.doi.org/10.1080/07494467.2019.1684061.

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Ilsar, Alon, Gail Kenning, Sam Trolland, and Ciaran Frame. "Inclusive Improvisation: Exploring the Line between Listening and Playing Music." ACM Transactions on Accessible Computing 15, no. 2 (2022): 1–21. http://dx.doi.org/10.1145/3506856.

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The field of Accessible Digital Musical Instruments (ADMIs) is growing rapidly, with instrument designers recognising that adaptations to existing Digital Musical Instruments (DMIs) can foster inclusive music making. ADMIs offer opportunities to engage with a wider range of sounds than acoustic instruments. Furthermore, gestural ADMIs free the music maker from relying on screen, keyboard, and mouse-based interfaces for engaging with these sounds. This brings greater opportunities for exploration, improvisation, empowerment, and flow through music making for people with disability and the commu

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Peñalba, Alicia, María-José Valles, Elena Partesotti, María-Ángeles Sevillano, and Rosario Castañón. "Accessibility and participation in the use of an inclusive musical instrument: The case of MotionComposer." Journal of Music, Technology and Education 12, no. 1 (2019): 79–94. http://dx.doi.org/10.1386/jmte.12.1.79_1.

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Digital musical instruments (DMI) can make musical practice accessible to non-trained persons or to persons with limitations related to their age, gender or musical experience. The present study explores accessibility and participation in a sample of 266 individuals using a device named MotionComposer, a digital instrument based on motion capture. By experimenting with this device during four minutes in two different environments (one causal, the other one more aprioristically determined), we study the kind of participant interaction that takes place. Results show that MotionComposer allows fo

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Samuels, Koichi. "The Meanings in Making: Openness, Technology and Inclusive Music Practices for People with Disabilities." Leonardo Music Journal 25 (December 2015): 25–29. http://dx.doi.org/10.1162/lmj_a_00929.

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Digital musical instruments and interfaces can be designed to enable people with disabilities to participate in creative music-making. Advances in personalized, open source technologies and low-cost DIY components have made customized musical tools easily accessible for use in inclusive music-making. In this article, the author discusses his research with the Drake Music Project Northern Ireland on making music-making more inclusive.

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Förster, Andreas, and Norbert Schnell. "Designing accessible digital musical instruments for special educational needs schools—A social-ecological design framework." International Journal of Child-Computer Interaction 41 (September 2024): 100666. http://dx.doi.org/10.1016/j.ijcci.2024.100666.

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Al Imran, Md Ibrahim, Fahmida Ahmed Antara, Bidya Debnath, and Adrita Anika. "DESIGN AND IMPLEMENTATION OF A 36-NOTE LOW-COST CUSTOMIZED DIGITAL MUSIC BOX." Acta Mechanica Malaysia 6, no. 2 (2023): 66–72. http://dx.doi.org/10.26480/amm.02.2023.66.72.

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The purpose of the current study was to design and build a music box with digitally produced notes. The input command sheet allows anybody to create any melody from the octave, making it possible to think of it as a small version of a musical instrument. This instrument is capable of producing frequencies in all three octaves, i.e., the lower, the middle, and the higher octaves. This music box may therefore play any tune, no matter how short or lengthy the note is. There is no need to alter the frequencies over time because no string is used in the creation. It can play any song to one’s heart

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Petkova, Diana. "Cross-modal Priming of a Music Education Event in a Digital Environment." International Journal of Cognitive Research in Science, Engineering and Education 13, no. 1 (2025): 75–81. https://doi.org/10.23947/2334-8496-2025-13-1-75-81.

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This study aims to explore the potential of the digital environment for implementing a multimodal approach in music education. The effectiveness of information received through a combination of sensory stimuli demonstrates a higher coefficient of educational efficiency and is examined as cross-modal priming. Digital technologies: including specialized and educational software, virtual instruments, and artificial intelligence (AI), transform the music education experience into an accessible resource for individuals with limited musical abilities or non-professional knowledge in the field of art

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Thèses sur le sujet "Accessible digital musical instruments"

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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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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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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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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Livres sur le sujet "Accessible digital musical instruments"

Calegario, Filipe. Designing Digital Musical Instruments Using Probatio. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02892-3.

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Corporation, International Business Machines, ed. Bach digital. IBM Corp., 2000.

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Marcelo, Wanderley, ed. New digital musical instruments: Control and interaction beyond the keyboard. A-R Editions, 2006.

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Miranda, Eduardo Reck. New digital musical instruments: Control and interaction beyond the keyboard. A-R Editions, 2006.

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Allen, Corey. Arranging in the digital world: Techniques for arranging popular music using today's electronic and digital instruments. Berklee Press, 2000.

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Allen, Corey. Arranging in the digital world: An introduction to basic MIDI arranging. Berklee Press, 2000.

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O'Hara, Shelley. iCan iPod. Que Pub., 2006.

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Cook, Nicholas. Music: A Very Short Introduction. 2nd ed. Oxford University Press, 2021. http://dx.doi.org/10.1093/actrade/9780198726043.001.0001.

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Music: A Very Short Introduction is a study of music and thinking about music, focusing on its social, cultural, and historical dimensions. It draws on a wealth of accessible examples, ranging from Beethoven to Chinese zither music. This VSI also discusses the nature of music as a real-time performance practice; the role of music in social and political action; and the nature of musical thinking, including the roles played in it by instruments, notations, and creative imagination. It explores the impact of digital technology on the production and consumption of music, including how it has tran

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Digital Sampling. Taylor & Francis Group, 2019.

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Digital Sampling. Taylor & Francis Group, 2019.

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Chapitres de livres sur le sujet "Accessible digital musical instruments"

Ramirez-Melendez, Rafael. "Accessible Digital Music Instruments for Motor Disability." In Neurocognitive Music Therapy. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-48635-7_2.

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Davanzo, Nicola, and Federico Avanzini. "Experimental Evaluation of Three Interaction Channels for Accessible Digital Musical Instruments." In Lecture Notes in Computer Science. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-58805-2_52.

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Davanzo, Nicola, Federico Avanzini, Luca A. Ludovico, et al. "A Case Study on Netychords: Crafting Accessible Digital Musical Instrument Interaction for a Special Needs Scenario." In Communications in Computer and Information Science. Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-49425-3_22.

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Driessen, Peter, and George Tzanetakis. "Digital Sensing of Musical Instruments." In Springer Handbook of Systematic Musicology. Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-55004-5_46.

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Ihde, Don. "Musical and scientific instruments, synthesizers and digital instruments." In Material Hermeneutics. Routledge, 2021. http://dx.doi.org/10.4324/9781003153122-8.

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Malloch, Joseph, and Marcelo M. Wanderley. "Embodied Cognition and Digital Musical Instruments." In The Routledge Companion to Embodied Music Interaction. Routledge, 2017. http://dx.doi.org/10.4324/9781315621364-48.

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Trautmann, Lutz, and Rudolf Rabenstein. "Physical Description of Musical Instruments." In Digital Sound Synthesis by Physical Modeling Using the Functional Transformation Method. Springer US, 2003. http://dx.doi.org/10.1007/978-1-4615-0049-0_3.

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Wu, Jiayue Cecilia. "An outlook on future digital musical instruments." In The Art of Digital Orchestration. Focal Press, 2020. http://dx.doi.org/10.4324/9780429345012-8.

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Bucur, Voichita. "Digital Fabrication of Some Wind Instruments." In Handbook of Materials for Wind Musical Instruments. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19175-7_16.

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Smith, Julius O. "Digital Waveguide Architectures for Virtual Musical Instruments." In Handbook of Signal Processing in Acoustics. Springer New York, 2008. http://dx.doi.org/10.1007/978-0-387-30441-0_25.

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Actes de conférences sur le sujet "Accessible digital musical instruments"

Partesotti, Elena. "INTEGRATING EXTENDED DIGITAL MUSICAL INSTRUMENTS AS INCLUSIVE TECHNOLOGY IN EDUCATION." In 17th annual International Conference of Education, Research and Innovation. IATED, 2024. https://doi.org/10.21125/iceri.2024.0786.

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Partesotti, Elena. "EXTENDED DIGITAL MUSICAL INSTRUMENTS: INNOVATING INCLUSIVE EDUCATION THROUGH TECHNOLOGY AND CREATIVITY." In 19th International Technology, Education and Development Conference. IATED, 2025. https://doi.org/10.21125/inted.2025.1497.

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Xu, Ke, Sijin Wu, and Weixian Li. "Vibration measurement of musical instruments using digital speckle pattern shearing interferometry." In International Conference on Optical and Photonic Engineering (icOPEN 2024), edited by Jianglei Di, Kemao Qian, Shijie Feng, et al. SPIE, 2025. https://doi.org/10.1117/12.3057723.

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Willeart, Saskia. "Digitizing collections of musical instruments in Africa." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.1.05.

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In 2013–2014 the Musical Instruments Museum (mim) in Brussels worked with Musée de la Musique (MMO) in Ouagadougou, Burkina Faso, and the Musée Panafricain de la Musique (MPM) in Brazzaville, the Republic of the Congo to build digital inventories of their musical instrument collections. The purpose of this digitization campaign has been to provide a more complete view of musical world heritage by incorporating not only African instruments but also the African terminology that describes these instruments, into international research databases. The cooperative digitization work has helped brin

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Araújo, João, Avner De Paulo, Igino Silva Junior, Flávio Luiz Schiavoni, Mauro César Fachina Canito, and Rômulo Augusto Costa. "A technical approach of the audience participation in the performance 'O Chaos das 5'." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10419.

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Since HTML 5 and web audio were released, we have seen several initiatives to construct web based instruments and musical applications based on this technology. Web based instruments involved composers, musicians and the audience in musical performances based in the fact that a web instrument embedded in a web page can be accessed by everyone. Nonetheless, despite the fact that these applications are accessible by the network, it is not easy to use the network and these technologies to synchronize the participants of a musical performance and control the level of interaction in a collaborative

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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 i

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Davanzo, Nicola, and Federico Avanzini. "A Method for Learning Netytar: An Accessible Digital Musical Instrument." In Special Session on Computer Supported Music Education. SCITEPRESS - Science and Technology Publications, 2020. http://dx.doi.org/10.5220/0009816106200628.

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Fütterer, Daniel. "Herausforderungen bei der Kodierung von Paratext am Beispiel Neuer Musik mit Live-Elektronik." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.103.

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In traditional scholarly editions of music, peritext only plays a minor role so far. Peritexts can be defined as integral components of a score, for example a foreword, that are not part of the musical text. Especially in New Music, which is often intentionally breaking with implicit performance traditions, peritexts might offer essential information, e. g. on the arrangement of instruments and personal on the stage, about the used effects and hardware, and on verbal instructions to the interpreters. Encoding this information to be fully accessible for a scholarly digital music edition, is an

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Davanzo, Nicola, and Federico Avanzini. "Resin: a Vocal Tract Resonances and Head Based Accessible Digital Musical Instrument." In AM '21: Audio Mostly 2021. ACM, 2021. http://dx.doi.org/10.1145/3478384.3478403.

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Davanzo, Nicola, Matteo De Filippis, and Federico Avanzini. "Netychords: An Accessible Digital Musical Instrument for Playing Chords using Gaze and Head Movements." In 5th International Conference on Computer-Human Interaction Research and Applications. SCITEPRESS - Science and Technology Publications, 2021. http://dx.doi.org/10.5220/0010689200003060.

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