利用Probatio设计数字音乐乐器

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"Designing Digital Musical Instruments Using Probatio 是一本2019年出版的专业书籍，专注于介绍如何利用Probatio这款数字音乐设备设计软件来创建和创新数字乐器。该书属于Computational Synthesis and Creative Systems系列，由多位国际专家共同编辑，旨在探讨计算机合成和创新系统在数字音乐领域的应用。通过Probatio这一物理原型工具包，读者可以学习到如何将技术与音乐创新结合，以实现全新的音乐表达方式。" Probatio是一款专为数字音乐设计者和创新者提供的工具，它集成了计算合成和人工智能技术，使用户能够设计出具有独特创意的音乐设备。在音乐领域，计算合成是指利用计算机算法生成新的声音和音乐元素，这不仅扩展了传统乐器的界限，还为音乐创作带来了无限可能。Probatio可能包含了一系列用于声音建模、信号处理和交互设计的模块，使得用户能够在物理层面模拟和创建数字乐器。书中强调了跨学科的重要性，尤其是机器学习、人工智能和工程学的融合。机器学习是让系统能够从数据中学习并自我改进的关键技术，而在音乐创作中，它可以帮助分析现有音乐模式，生成新的旋律和节奏。人工智能则为理解和模仿人类的创造思维提供了平台，可能包括自动作曲和即兴演奏的功能。而工程学视角则关注如何将这些先进的算法和技术转化为实际可用的硬件和软件系统。此外，书中可能涵盖了与人类交互的设计原则，因为一个成功的数字乐器不仅需要创新的技术，还需要直观的用户界面和良好的演奏体验。这涉及到人机交互(HCI)的设计，包括传感器技术、反馈机制以及演奏者的物理动作识别，以确保音乐家能够自然地与这些数字化乐器沟通。在"Designing Digital Musical Instruments Using Probatio"中，读者可以期待深入探讨数字音乐设计的理论、实践方法和案例研究，帮助他们掌握利用Probatio创建独特数字乐器的技能。这本书对音乐制作人、软件开发者、电子工程师以及任何对音乐创新感兴趣的人都是一份宝贵的资源，鼓励他们在技术与艺术之间探索新的边界。

Chapter 2

Challenges in Designing DMIs

As Robert Moog states, ‘[...] Musical Instrument Design is

one of the most sophisticated and specialized technologies

that we humans have developed [...] [W]hen we speak of

musical instruments today, we understand that we are talking

about precisely made and ﬁnely tuned objects’.

(Sylleros et al. 2014)

Abstract This chapter examines the concept of DMI and discusses a list of illus-

trative challenges one might face when conceiving and building these artifacts. The

list is not comprehensive, but it attests the complexity of the area. Finally, we discuss

why it is important to have various cycles of experimentation and implementation

during the development of a new DMI.

In this chapter, we examine the very concept of digital musical instrument (DMI) and

discuss a list of illustrative challenges that one might face when conceiving and

building these artifacts. This list is not meant to be comprehensive or exhaustive, but

it helps us to attest the complexity of the area and to conclude why it is important to

have various cycles of experimentation and implementation during the development

of a new DMI.

2.1 Digital Musical Instruments

Digital musical instrument (DMI) is a class of artistic, tangible, interactive objects

intended to articulate sound by means of gestural control. Unlike their acoustic

counterparts, which follow physical constraints, DMIs’ control input is decoupled

from the sound output (Miranda and Wanderley 2006). As an intermed iate layer

F. Calegario, Designing Digital Musical Instruments Using Probatio, Computational

Synthesis and Creative Systems, https://doi.org/10.1007/978-3-030-02892-3_2

connecting these two modules, there is the mapping stra tegy (see Fig. 2.1). Besides

feedback beyond sound, such as hapti c, luminous is also an element of a DMI.

In an attempt to discuss the concept further, Gurevich et al. (2011) argue that not

all forms of musical interactions are instrumental, thus proposing anothe r term —

digital musical interactions (Gurevich and Cavan Fyans 2011). Despite considering

the relevant discussion, in this work we will use the term digital musical instrument

as an artifact composed of parts that can be independently analyzed, with which the

user interacts in order to obtain a musical result. Another term found in the literature

is New Interfaces for Musical Expression (NIME). Although NIME implies a wider

deﬁnition, as it is not unique either to “digital” or to “instruments,” in the present

work we wi ll use the terms DMI and NIME interchangeably.

DMIs comprise a plethora of artifacts, some examples of which are Haken

Continuum, a conti nuous playing surface that tracks the position and pressure of

multiple ﬁngers; AlphaSphere, a set of pressure-sensitive tactile pads disposed as a

sphere; Reactable, a combination of a multitouch table and acrylic cubes that control

synth elements and sequencers (Jordà et al. 2007); Eigenharp Alpha, a DMI with a

bassoon-like appearance that comprises a matrix of keys with three degrees of

freedom (up, down; right, left; pressed, released), a wind controller, and a ribbon

controller, which control a variety of sound synthesis parameters.

However, in the area, “it is hard to ﬁnd artifacts that have been widely or

convincingly adopte d by musicians” (Medeiros et al. 2014). In fact, it is considered

in literature only by a few virtuosi or professional musicians (Jordà and Mealla

2014). Although relevant to the discussion, the virtuosic use of a DMI is only one

facet of the many possible options based on intenti ons and contexts of use of

the user.

It is reported in literature that the design process of DMI is guided by idiosyn-

cratic approaches (Ryan 1991; Wanderley and Orio 2002; Bongers 2007; Ward and

Torre 2014; Barbosa et al. 2015a), which leads to little or no room for comparison or

evolution of these instruments.

The advancements in mobile technologies, besides the do-it-yourself (DIY),

maker, and open-source philosophies, opened the world of sensors, devices,

Fig. 2.1 Digital musical instrument diagram adapted from Miranda and Wanderley (2006)

6 2 Challenges in Designing DMIs

Cadoz and Wanderley (2000) deﬁne the gestural channel as a means of human

communication similar to verbal communication (Cadoz and Wanderley 2000). The

author identiﬁes the three functions of this channel:

• Ergotic function [from ergos, “physical work, energy” (Luciani 2007)]: related to

an action that modiﬁes and transforms the environment with energy transfer

between the actor and the environment (Muser 2015).

• Semiotic function: delivery of meaningful information to the environment, such

as thumbs up to tell you that something is correct.

• Epistemic function: exploratory movements to acquire haptic or tactile informa-

tion from a parti cular artifact. It can be considered as a preli minary phase to the

ergotic gestures, in which the user is experiencing the space to understand it

better.

Based on the presence or absence of physical contact, Jensenius et al. (2010a)

present two terms: manipulative gestures, which are related to physical contact, and

empty-handed ge stures, also know n as free gestures, naked gestures, or semaphoric

(Jensenius et al. 2010).

Instrumental gestures, or gestures related to manipulating objects, have the three

functions of the gestural channel mentioned above. These gestures can be divided

into three broad categories:

• Selection: the choice of a particular element of the instrument, and it is not related

to adding energy to produce a sound, for example the positioning of the ﬁngers on

the ﬂute or of the neck of the violin or on the guitar.

– Sequential: one selection is performed at a given time.

– Parallel: multiple selections are carried out at once.

• Excitation: energy is added to the system, for example, the movement of the bow

of a violin, blowing a ﬂute, pressing the key of a piano, striking a percussion

instrument.

– Instantaneous: the energy is provided in a single event. It can be further

divided into percussive, when the sound event happens as soon as the physical

contact begins, and picking, when the sound event happens after the physical

contact ends (Aceituno 2015).

– Continuous: the energy is provided during the sound event.

• Modiﬁcation: the form given to some control parameters, for example, when a

vibrato is made (which is the modulation of the pitch of a note) or when a tremolo

is made (which is the modulation of the amplitude or volume of this note).

– Parametric: if the controlled parameter varies during the event (e.g., vibrato,

tremolo).

– Structural: if the there is a qualitative change in the structure of the instrument

(e.g., the mute on a brass instrument, the sustain pedal of the piano).

8 2 Challenges in Designing DMIs

Focusing on possible human outputs to musical instruments, Bongers (2000) lists

(Bongers 2000): (1) muscle action; (2) blowing; (3) voice; (4) biosignals: galvanic

skin response, tem perature, blood pressure, heart rate, etc. Focusing on the muscle

action, the author presents two categories based on the physiology of the muscles:

isometric contraction, in which there is no change in the muscle length or the joint

angle, and isotonic contraction, in which the tension remains the same and the length

of muscle changes, causing movement.

Sensors are used to allow possible human outputs to control sound parameters.

These devices convert physical energy into electricity and then into digital values

(Bongers 2000). Examples of physical energy are “kinetic (such as pressure, torque,

inertia); light; sound; temperature; smell; humidity; electricity; magnetism; electro-

magnetism (radio waves)” (Bongers 2000).

By using signal conditioning and processing techniques in hardware, or in

software, “devoted to adjusting, amplifying, ﬁltering, selecting and transducing

signals” (Medeiros and Wanderley 2014), the raw data can be manipulated to

achieve more stable and adequate results (Malloch 2008; Steiner 2005).

How to decide on the elements of the gestural controller for a new DMI?

How to choose the suitable sensors to translate the gestures into digital values?

2.2.2 Sound Output

The output module of the DMI is responsible for synthesizing the sound based on

inputs and mapping strategies. Examples of possible synthesis methods are oscilla-

tors and wavetables, additive synthesis, subtractive synthesis, modulation synthesis,

frequency modulati on synthesis, physical modeling, granular synthesis, vocal/for-

mant synthesis, sampling/PCM synthesis (Cook 2002; Miranda 1998). In this work

we do not focus on sound generation. Thus, we approach this chapter with a higher

level of abstraction, being more concerned with deﬁning the possibilities of control

over sound generation than the actual method of sound synthesis.

Schloss (1990) presents a classiﬁcati on for musical controls based on three levels

(Schloss 1990):

• Timbral level: it is the microscopic control in which sound properties can be

manipulated in details. It is a level that demands continuous control of the

synthesis parameters in different dimensions, for example changing parameters

such as resona nce on a modular synthesizer.

• Note level: it is related to triggering notes and controlling their execution, for

example pressing the keys of the piano.

• Process level: it is the macr oscopic level based on the control of a predeﬁned

musical event or sequence of events, for instance DJ sampling.

2.2 The Challenge of Multiple Combinations 9

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