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Instruments for New Music: Sound, Technology, and Modernism

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ISBN: 9780520288027 9780520963122 Year: Pages: 250 DOI: 10.1525/luminos.7 Language: English
Publisher: University of California Press
Subject: General and Civil Engineering --- Media and communication --- Music
Added to DOAB on : 2016-02-14 11:01:15
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Player pianos, radio-electric circuits, gramophone records, and optical sound film—these were the cutting-edge acoustic technologies of the early twentieth century, and for many musicians and artists of the time, these devices were also the implements of a musical revolution. Instruments for New Music traces a diffuse network of cultural agents who shared the belief that a truly modern music could be attained only through a radical challenge to the technological foundations of the art. Centered in Germany during the 1920s and 1930s, the movement to create new instruments encompassed a broad spectrum of experiments, from the exploration of microtonal tunings and exotic tone colors to the ability to compose directly for automatic musical machines. This movement comprised composers, inventors, and visual artists, including Paul Hindemith, Ernst Toch, Jörg Mager, Friedrich Trautwein, László Moholy-Nagy, Walter Ruttmann, and Oskar Fischinger. Patteson’s fascinating study combines an artifact-oriented history of new music in the early twentieth century with an astute revisiting of still-relevant debates about the relationship between technology and the arts.

Musical Haptics

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Book Series: Springer Series on Touch and Haptic Systems ISSN: 2192-2977 ISBN: 9783319583150 9783319583167 Year: Pages: 285 DOI: https://doi.org/10.1007/978-3-319-58316-7 Language: English
Publisher: Springer Nature Grant: Zurich University of the Arts
Subject: Music --- Technology (General)
Added to DOAB on : 2018-06-29 12:48:17
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This open access book offers an original interdisciplinary overview of the role of haptic feedback in musical interaction. Divided into two parts, part I examines the tactile aspects of music performance and perception, discussing how they affect user experience and performance in terms of usability, functionality and perceived quality of musical instruments. Part II presents engineering, computational, and design approaches and guidelines that have been applied to render and exploit haptic feedback in digital musical interfaces.Musical Haptics introduces an emerging field that brings together engineering, human-computer interaction, applied psychology, musical aesthetics, and music performance. The latter, defined as the complex system of sensory-motor interactions between musicians and their instruments, presents a well-defined framework in which to study basic psychophysical, perceptual, and biomechanical aspects of touch, all of which will inform the design of haptic musical interfaces. Tactile and proprioceptive cues enable embodied interaction and inform sophisticated control strategies that allow skilled musicians to achieve high performance and expressivity. The use of haptic feedback in digital musical interfaces is expected to enhance user experience and performance, improve accessibility for disabled persons, and provide an effective means for musical tuition and guidance.

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