Producción de Sonido y Manipulación [PSM]


Dispositivos Electroacústicos


Un dispositivo que controla la transferencia de datos desde una fuente digital a otra. Cualquier tipo de interfaz que genere los parámetros para manejar un dispositivo productor de sonidos. Por ejemplo, un controlador por software es generalmente, un objeto gráfico que genera los mensajes de ciertos parámetros cuando es manipulado. Del mismo modo, un controlador por hardware es un dispositivo de medición que mapea acciones físicas sobre los parámetros que pueden ser usados con un generador de tonos.



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Appleton, Jon (1989a). 21st-Century Musical Instruments: Hardware and Software
Appleton, Jon (1990). Composer pour des nouveaux instruments
Auzet, Roland (2000). Gesture-following Devices for Percussionists
Battier, Marc (1995b). Entre l’idée et l’œuvre: parcours de l’informatique musicale
Battier, Marc (2003c). Science et technologie comme sources d’inspiration
Burt, Warren (1991). Experimental Music in Australia Using Live Electronics
Cerena, Carlos (2000). Gesture Control of Musical Processes: A MAX environment for Buchla’s ‘Lightning’
Chadabe, Joel (2000a). Devices I have Known and Loved
Cole, Bruce (1996). MIDI and Communality
Cook, Perry (2001a). Principles for Designing Computer Music Controllers
Davies, Hugh (1990). Instruments électroniques : classification et mécanismes
Dobrain, Christopher, Koppelman, Daniel (2006). The ’E’ in NIME: Musical Expression with New Computer Interfaces
Dodge, Charles, Jerse, Thomas A. (1985). Computer Music Synthesis, Composition, and Performance
Dury, Rémi, Faber, Francis (2001). Musique électroacoustique, musique assistée par ordinateur et jeu instrumental: vers de nouveaux instruments pédagogiques
Essl, Georg (2003). On Gender in New Music Interface Technology
Fels, Sidney, Gadd, Ashley, Mulder, Axel (2002). Mapping Transparency through Metaphor: Towards more expressive musical instruments
Flety, Emmanuel, Serra, Marie-Hélène (1998). Utilisation récentes de capteurs gestuels en création musicale à l’IRCAM
Gluck, Robert J. (2005a). eSaz: A non-Western instrument in the context of a live electronic performance system
Goto, Suguru (2000). Virtual Musical Instruments: Technological Aspects and Interactive Performance Issues
Goto, Suguru (2006). The Case Study of An Application of The System, “BodySuit” and “RoboticMusic” - Its Introduction and Aesthetics
Jordà, Sergi (2002a). FMOL: Toward User-Friendly, Sophisticated New Musical Instruments
JORDÀ, Sergi (2005). Digital Lutherie: Crafting musical computers for new musics’ performance and improvisation
Kapur, Ajay, Essl, Georg, Davidson, Philip, Cook, Perry R. (2003). The Electronic Tabla Controller
Krefeld, Volker (1990). The Hand in the Web: An Interview with Michel Waisvisz
Laliberté, Martin (1992). À la recherche du nouvel instrument
Levitin, Daniel J., McAdams, Stephen, Adams, Robert L. (2002). Control Parameters for Musical Instruments: A foundation for new mappings of gesture to sound
Marrin, Teresa, Paradiso, Joseph (1997). The Digital Baton: A Versatile Performance Instrument
Merlier, Bertrand (1998). À la conquête de l’espace
Merlier, Bertrand (2003). La main, le geste instrumental et la pensée créative. CG3D, contrôleur gestuel tridimensionnel
Miranda, Eduardo Reck (Ed.) (1999b). Música y nuevas tecnologías: Perspectivas para el siglo XXI (Music and New Technologies: Perspectives for the 21st Century)
Mulder, Axel (1996). Getting a Grip on Alternate Controllers: Addressing the Variability of Gestural Expression in Musical Instrument Design
Mulder, Axel (1999). Sobre los límites de los gestos de los intérpretes instrumentales (On the limitations of the gestures of musical interpreters)
Newton-Dunn, Henry, Nakano, Hiroaki, Gibson, James (2003). Block Jam: A Tangible Interface for Interactive Music
Nichols, Charles (2002). The vBow: A virtual violin bow controller for mapping gesture to synthesis with haptic feedback
Pachet, Francois (1999). Escuchar música: ¿qué es lo que se toca? (Listening to music: What is being played?)
Pottier, Laurent, Stalla, Olivier (2000). Interpretation and Space
Prager, Jonathan, Coppe, Dimitri (2005). Acousmaxi ou acousmini ? Motus, mais pas bouche cousue...
Pressing, Jeff (1990). Cybernetic Issues in Interactive Performance Systems
Puckette, Miller (2002). Max at Seventeen
Robson, Dominic (2002). PLAY: Sound Toys for Non-Musicians
Rothenberg, David (1995). Sudden Music: Improvising across the Electronic Abyss
Rowe, Robert (1995). Incrementally Improving Interactive Music Systems
Rubine, Dean, McAvinney Paul, (1990). Programmable Finger-tracking Instrument Controllers
Sapir, Sylviane (2002). Gestural Control of Digital Audio Environments
Schrader, Barry (1991). Live/Electro-acoustic Music - a Perspective from History and California
Serafin, Stefania, Götzen, Amalia de, Böttcher, Niels (2006). Synthesis and Control of Everyday Sounds: Reconstructing Russolo’s Intonarumori
Stockhausen, Karlheinz (1996). Electroacoustic Performance Practice
Tanaka, Atau (2000). Musical Performance Practice on Sensor-based Instruments
Tarabella, Leonello (2004). Improvising Computer Music: An Approach
Ulyate, Ryan, Bianciardi, David (2002). The Interactive Dance Club: Avoiding Chaos in a Multi-Participant Environment
Wanderley, Marcello, Depalle, Philippe (1999). Contrôle gestuel de la synthèse sonore
Wanderley, Marcelo, Orio, Nicola (2002). Evaluation of Input Devices for Musical Expression: Borrowing Tools from HCI
Weinberg, Gil (2005c). Local Performance Networks: musical interdependency through gestures and controllers
Wessel, David (1991). Instruments That Learn, Refined Controllers, and Source Model Loudspeakers
Wessel, David, Wright, Matthew (2002). Problems and Prospects for Intimate Musical Control of Computers



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