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| 008 | 170308s2017 sz o 000 0 eng d | ||
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_a3319472143 _q(electronic bk.) |
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_a9783319472140 _q(electronic bk.) |
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| 050 | 4 |
_aM1473 _b.A556 2017 EB |
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| 245 | 0 | 2 |
_aA NIME reader : _bfifteen years of new interfaces for musical expression _cAlexander Refsum Jensenius, Michael J. Lyons, editors. |
| 264 | 1 |
_aCham, Switzerland _bSpringer _c2017. |
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| 300 | _a1 recurso en línea | ||
| 336 |
_aTexto _btxt _2rdacontent |
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| 337 |
_aelectrónico _bc _2rdamedia |
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| 338 |
_arecurso electrónico _bcr _2rdacarrier |
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| 347 |
_atext file _bPDF _2rda |
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| 490 | 0 |
_aCurrent research in systematic musicology _vvolume 3 |
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| 500 |
_aSpringerLink _bSpringer Engineering eBooks 2017 English+International |
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| 505 | 0 | _aPreface; Who Is the Book For?; The Selection Process; Peer-Commentary Process; How Can NIME Continue to Be Relevant?; Acknowledgements; Contents; About the Editors; 2001: Principles for Designing Computer Music Controllers; 1 Introduction; 2 Winds: Cook/Morrill Trumpet 1986 -- 89 HIRN 1991; 3 Voice: SPASM 1988 -- 94; 4 PhISEM Shaker Percussion: 1996 -- 1999; 5 Foot, Hand, Kitchen Wear/Ware 1997 -- 2000; 6 Violins/Strings: BoSSA, the Nukelele 1998 -- 99; 7 The Voice (Again): SqueezeVox 2000; 8 Future Work and Conclusions; 9 Demonstrations; References. | |
| 505 | 8 | _a1 Electronic Instruments and the Mapping Layer2 The Importance of Mapping; 3 Informal Observations ; 3.1 The Accidental Theremin ; 3.2 Two Sliders and Two Sound Parameters ; 4 Mapping Experiments; 4.1 Complex Mapping for Arbitrary Interfaces; 4.2 Focusing on the Effect of Mapping Strategies; 4.3 Learning from Acoustic Instruments; 5 Models and Guidelines for Mapping; 5.1 One-to-one Mappings -- Multiple Layers; 6 Future Discussion of Mapping; 7 Conclusions; References; 2002: Multimodal Interaction in Music Using the Electromyogram and Relative Position Sensing; 1 Introduction. | |
| 505 | 8 | _a1 Introduction1.1 Scanned Synthesis; 1.2 Haptics; 2 Haptic Illusions; 2.1 Slope; 2.2 Clutch; 3 Hardware; 3.1 Motors; 3.2 Microcontroller; 3.3 Sensing and Orthogonal Force Control; 4 Effects; 4.1 Table of Forces: Terrain; 4.2 Motion: Dynamics; 4.3 Friction; 5 Progress and Plans; References; 2003: Contexts of Collaborative Musical Experiences; 1 Introduction; 1.1 Accessible Music; 1.2 Balancing Complexity and Expressivity; 1.3 Mapping and Control Issues; 2 Contexts of Collaborative Interfaces; 2.1 Focus; 2.2 Location; 2.3 Media; 2.4 Scalability; 2.5 Player Interaction; 2.6 Musical Range/Notes. | |
| 505 | 8 | _a2 Review of Multimodal Interaction3 The Electromyogram (EMG)/Position Sensing System; 4 Applying Multimodel Interaction Principles to Musical Control; 4.1 Music as Use Case for Multimodal HCI; 4.2 Complementarity; 4.3 Bidirectional Complementarity; 5 Requirements for Multimodal Musical Interaction; 5.1 Efficiency of Articulation and Communication; 5.2 Multitasking Versus Multimodal; 5.3 Defining a Successful Multimodal Interface; 5.4 Intuition; 5.5 Expansion Versus Fusion; 6 Application to Live Performance; 7 Conclusions; References; 2002: The Plank: Designing a Simple Haptic Controller. | |
| 505 | 8 | _a2001: Problems and Prospects for Intimate Musical Control of Computers1 Introduction; 2 Low Entry Fee with No Ceiling on Virtuosity; 3 Latency Requirements for Control Intimacy; 4 Discrete Event Versus Continuous Control; 5 Open Sound Control (OSC); 6 A Programmable Connectivity Processor; 7 Musical Control Structures for Standard Gestural Controllers; 8 Some Custom Controllers; 9 Metaphors for Musical Control; 9.1 Drag and Drop; 9.2 Scrubbing and Its Variants; 9.3 Dipping; References; 2002: The Importance of Parameter Mapping in Electronic Instrument Design. | |
| 520 | 3 | _aWhat is a musical instrument? What are the musical instruments of the future? This anthology presents thirty papers selected from the fifteen year long history of the International Conference on New Interfaces for Musical Expression (NIME). NIME is a leading music technology conference, and an important venue for researchers and artists to present and discuss their explorations of musical instruments and technologies. Each of the papers is followed by commentaries written by the original authors and by leading experts. The volume covers important developments in the field, including the earliest reports of instruments like the reacTable, Overtone Violin, Pebblebox, and Plank. There are also numerous papers presenting new development platforms and technologies, as well as critical reflections, theoretical analyses and artistic experiences. The anthology is intended for newcomers who want to get an overview of recent advances in music technology. The historical traces, meta-discussions and reflections will also be of interest for longtime NIME participants. The book thus serves both as a survey of influential past work and as a starting point for new and exciting future developments. | |
| 650 | 7 |
_aMúsica por ordenador _2embne _0(OCoLC)fst00872274 _0 _9141144 |
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| 700 | 1 |
_aJensenius, Alexander Refsum, _eeditor literario |
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| 700 | 1 |
_aLyons, Michael J., _eeditor literario |
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| 856 | 4 | 0 |
_uhttps://go.openathens.net/redirector/universidadeuropea.es?url=http://link.springer.com/10.1007/978-3-319-47214-0 _zAcceso a este recurso digital (usuarios Universidad Europea de Madrid) |
| 988 | _aEBOOK, asignarmaterias, EBSPRINGER_2017C | ||
| 998 |
_b02/2018 _dz _e- _zSI |
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| 999 |
_c95526 _d95526 _x1 |
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