An actively controlled acoustic musical instrument is an acoustic musical instrument that is augmented with sensors, actuators, and a controller. These instruments can be considered a special case of haptic musical instruments where the interface is the entire acoustic instrument itself. For
example, a monochord string can be plucked and bowed at various positions as usual, while its acoustic behavior is governed by the control hardware. Simple and appropriate control algorithms emulate passive networks of masses, springs, and dampers or implement self-sustaining oscillators.
The paper looks at two examples the Haptic Drum by Edgar Berdahl and the Cellomobo by Collin Oldham.
The Haptic Drum uses haptic feedback to control the mvoement of a drum stick. It can produce high speed accurate drum rolls using just one hand so you can use your other hand to play something extra!
The Cellomobo produces feedback as a user bows a virtual string. Both of the instruments are described in more detail in the paper.
Sormina is a musical instrument developed by Juhani Räisänen.
The aim of my project is to gain knowledge about instruments and their impact in the western classical music. My point is that the material quality of acoustical instruments has had a major effect in the development of music
Sound is created by noise generators and the instrument is used to shape the sound via eight potentiometers controlled by the fingers. The sensory data is then passed to a computer via bluetooth. Each potentiometer controls a different sound parameter, such as attack, delay, gain and effrect parameters.
The Bird Lovers Only Rescue says that no one taught him how to dance, ‘he just heard this song and suddenly felt like dancing. When he’s really in the mood, he dances and sings.’
Does this mean that Humans are not alone in enjoying listening to music, or is this just a learned habit?
The DIMI synthesizers were designed by Finnish electronic music pioneer Erkki Kurenniemi in 1970. He created a number of early electronic instruments using original control methods. The DIMI-A was the first in the range standing for ‘Digital Music Instrument - Associative Memory’ essentially an early sampler. The DIMI-O or ‘Optical Organ’ displayed the musical notes via a screen and also had a video camera that could be used to convert movements into sound. The Dimi-S or ‘Sexophone’ was an instrument used by four players each wearing handcuffs and wires. Musical tones were generated as the players touched each other. The electrical resistance between the players was measured and ‘with increasing skin moisture and contact area, the intensity of the music increased’!
The Dimi-T or ‘Electroencephalophone‘ measured the EEG signals from the user’s earlobes. The signal was ‘amplified, band-pass filtered and used to frequency modulate a voltage-controlled oscillator’.
The original idea was to build four of these instruments, and let the musicians to go to sleep while hearing each other’s generated sounds. During sleep there appears in the EEG slow high-amplitude delta waves, and short duration ’sleep spindles’. Would the brain waves of the sleeping players get synchronized? This test was never made.
The last in the seires was the Dimi-6000, an analog voltage controlled synthesizer using an Intel 8008 microproccessor. An article written by Kurenniemi ‘History of Dimi Instruments‘ which came out with a DVD called ‘The Dawn of DIMI‘. Although there are some short video demonstrations online.
Over the years a number of composers have used brainwaves to control music. Richard Teitelbaum, a member of Italian electronic music group Musica Elettronica Viva, used biological signals (EEG and EKG) to control electronic synths.
In the early 1970’s David Rosenboom founded the Laboratory of Experimental Aesthetics at York University in Toronto where they explored the relation between aesthetic experience and produced musical realisations. Many artists and musicians visited and worked there during the time including John Cage, David Behrman, La Monte Young and Marian Zazeela. Rosenboom produced his album Brainwave Music and published results of his experiements in ‘Biofeedback and the Arts’ in 1976. He wrote a a second book called ‘Extended Musical Interface with the Human Nervous System’.
Roger Lafosse and Pierre Henry used a live performance system called a Corticalart on a number of recordings.
Jacques Vidal, a computer science research at UCLA began developing the first direct brain-computer interface using a batch-porcessing IBM computer. He published a paper in 1973 called ‘Toward Direct Brain-Computer Communication [pdf]‘ A paper from 1998 called ‘Cyberspace Bionics‘ provides an overview of technology and it’s impact on human life.
In the 1970’s Pierre Droste, Andrew Culver and Charles de Mestral made up a Montreal Group called Sonde performing a number of improvisational brainwave concerts.
Between 1990-1992, Benjamin Knapp and Hugh Lusted developed the BioMuse, an 8 channel ‘biocontroller’ that analyses muscle movement (EMG), eye movement (EOG), heart (EKG) or brainwave signals (EEG) using non-invasive transdermal electrodes.
The IBVA system provides ‘interactive control from brainwave activity’ allowing the user to trigger audio, images, software and other hardware devices.
The IBVA inhales brainwaves but exhales a brain-computer interface. Your brainwaves can control everything from sounds that go ping to almost any electronically addressable device.
Head of IBVA Luciana Haill uses the system to control the pitch and velocity like ‘playing a Theremin with your brain’. Other notable musicians that use the IBVA system are Paras Kaul and Towa Tei.
CalArts student Adam Overton used SuperCollider, a custom EEG/EKG device and a respiration harness and sensor for his project Sitting.Breathing.Beating.[Not]Thinking. The equipment analyses breaths, heartbeats and brainwaves whilst Adam meditates. The software plays its own datafiles, which results in the noisy/chaotic textures, the signals & movements are then used to manipulate the sound.
The EyeTap Personal Imaging Lab is a ‘computer vision and intelligent image processing research lab focused on the area of personal imaging, mediated reality and weable computers’, set up in 1998 by Steve Mann. In 2003 they started projects combining music and brainwaves. James Fung’s project Regenerative Brain Wave Music Project explores ‘new physiological interfaces for musical instruments’. At DECONcert1 48 people were wired up with EEG sensors which were then used to control the sound. By playing back the music created in realtime a biofeedback loop was created with the audience reacting to the sound they were creating. At REGEN3 jazz musicians played music which is ‘driven and altered by the brainwaves of the audience’. An interesting idea to unite the performer and the audience.
Brouse working with Eduardo Miranda who runs Neuromusic department at University of Plymouth, developed the BCMI-PIANO. Matlab and Simulink is used to perform power spectrum and Hjorth analyses of EEG signals in realtime to control music.
In order to have greater control over this system, we are developing methods to train subjects to achieve specific EEG patterns in order to play the BCMI-Piano system. We have initial evidence that this can be made possible using a technique commonly known as biofeedback.
A number of homebrew BCI devices are currently in progress, one such example is by Mick Grierson. It is still in the early stages, but there is a short video demo on youtube.
I didn’t intend to write so much about this subject! Developments in this field are sure to continue advancing rapidly as researchers, companies and hobbyists seek to explore new ways of interaction, whether it’s for music, gaming or general use. Perhaps the key issues to tackle as Miranda and Brouse point out is the ‘task of intereting the meaning of the EEG’ and secondly how to create equipment that is more comfortable and portable. It will be interesting to see how the projects develop.
A new interactive novel independently written by Susanna Jones, Alison MacLeod, Jeff Noon and William Shaw have started a shared fiction site called 217 babel. The novel is set in a block of seafront flats and will build into ‘a complex, multi-character narrative’.
There are two projects currently under development at MIT’s Hyperinstruments group testing Magnetic Musical Training. The systems provide the user with ‘a kinesthetic preview’, to help them learn the gestures required to play the musical instrument. The project aims to find out whether motor functions can be learnt at a faster and more efficient rate using this system compared to traditional methods.
Graham Grindlay’s project called FielDrum uses a drum fitted with electromagnets and permanent magnets which control the pushing and pulling forces of a drumstick. Currently the system only has two states (attract or repel) although they are hoping to introduce more. Check the simple video demonstration of the FielDrum in action.
Craig Lewiston’s Trainer Technology project has two streams of development, the Trainer Piano and the Trainer Prototype, both using magnets to control the movement of the user. The Trainer Piano uses an upright piano together with a computer screen which displays visual feedback. The Trainer Prototype uses a gloove with magnets in to control finger movements. I’m looking forward to reading the results of the tests.
A new paper pushing the theory that the area of a birds brain that controls movement is the same region that controls singing and learning to sing. It is the first study to use Molecular Mapping to examine the areas of a birds forebrain that control movement. Erich Jarvis suggests that ’spoken language areas evolved out of pre-existing motor pathways’. Perhaps it is one possible reason why humans gesture with their hands as they are speaking. It is believed that the common ancestor of reptiles, birds and mammals, Amnitoes, shared similar motor pathways.
Cerebral systems that control vocal learning in distantly related animals evolved as specializations of a pre-existing motor system inherited from their common ancestor that controls movement, and perhaps motor learning.
The results back up claims that gestural language came before spoken language. Even now children are seen to gesture before they learn how to talk. ‘Gesturing is something that goes along naturally with speech. The brain areas used for gesturing may have been co-opted and used for speech’ says Erich Jarvis.
Musical Furnishings has released a customisable musical table. The table is made up of modules which you can swap around to create a unique playing surface. Check out the old musical furnishing’s website which has more with examples.
Fun new game from kloonigames called Crayon Physics Deluxe, reminds me of ASSIST project. Be sure to check out the other games at kloonigames, their mission? To release a new experimental game each month.
Posted by det on November 04th 2007 to instruments
The Vegetable Orchestra performs music solely on instruments made of vegetables. Using carrot flutes, pumpkin basses, leek violins, leek-zucchini-vibrators, cucumberophones and celery bongos, the orchestra creates its own extraordinary and vegetabile sound universe. The ensemble overcomes preserved and marinated sound conceptions or tirelessly re-stewed listening habits, putting its focus on expanding the variety of vegetable instruments, developing novel musical ideas and exploring fresh vegetable sound gardens.
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