Towards Unified Design Guidelines for New Interfaces for Musical Expression.
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...
| Publicado en: | Organised Sound Vol. 14; no. 2; pp. 142 - 156 |
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| Formato: | Artículo |
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Cambridge University Press
Aug2009
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=43025278&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 43025278 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 13557718 G0N jtl: Organised Sound issn: 13557718 maglogo: N pubinfo: dt: Aug2009 vid: 14 iid: 2 pid: 15979 pub: Cambridge University Press artinfo: ui: 43025278 10.1017/S1355771809000259 ppf: 142 ppct: 14 formats: tig: atl: Towards Unified Design Guidelines for New Interfaces for Musical Expression. aug: au: Paine, Garth affil: School of Communication Arts, University of Western Sydney, Australia su: Laptop computers Musical performance Communication Gesture Textures Morphology sug: subj: Laptop computers Musical performance Communication Gesture Textures Morphology ab: 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 tother 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 kindled themselves particularly to electro acoustic and computer music performance where timbre, texture and morphology may be paramount. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2009 holdings: @attributes: islocal: N |
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