Instrumentos Interactivos

Producción de Sonido y Manipulación [PSM]


Instrumentos Electroacústicos


Los medios y modos mediante los que un humano puede interactuar con una máquina con el propósito de hacer música, han probado ser un gran campo de investigación y trabajo desde los días de los instrumentos electrónicos pioneros. Este término es utilizado sin mucha consistencia, en parte debido a la inmensa diversidad de investigaciones y actividades actuales en este ámbito.

Cualquier medio imaginable de introducir datos a un sistema para provocar alguna forma de respuesta musicalmente significativa puede ser considerado un controlador. En el sentido más amplio posible, un controlador, a través de alguna forma de comunicación entre las partes (por ejemplo, MIDI, conversores, software), junto con algunos medios de producción o modificación de sonido, puede ser llamado Instrumento Interactivo. Frecuentemente, tales controladores tienen una relación homóloga con los sensores (por ejemplo, de movimiento). Por lo tanto, los guantes, las batutas, y los juguetes, entre otros incontables ejemplos, pueden ser construídos o modificados para funcionar como instrumentos musicales.

La forma ya existente de un instrumento musical puede ser modificada a través del agregado de sensores, permitiendo el control mediado electrónicamente de la generación o modificación adicional de sonidos (incluso del sonido instrumental mismo). Esto se suma a los controles convencionales que el músico ejerce sobre la producción del sonido acústico. Algunas veces, tales ejemplos son también denominados Instrumentos Extendidos (Extended Instruments).


See also



Data Tracking (Seguimiento de Datos)


E-Instruments e I-instruments (Instrumentos Electrónicos e Instrumentos de Internet)


Captura de Gestos






Electrónica en Vivo (Música Electrónica en Vivo)




Detección de Movimientos


Pitch-to-MIDI (Conversión de alturas a datos MIDI)





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Alphabetical order - Chronological order

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Chadabe, Joel (1983). Interactive Composing: An Overview
Clozier, Christian (2001). The Gmebaphone Concept and the Cybernéphone Instrument
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Gluck, Robert J. (2005b). {Sounds of a Community}: Cultural Identity and Interactive Art
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Hawkins, Scott (2001). Duel Purpose - Introducing the Diamorphone. An Account of Experiments in Sound and Physical Interaction
Hunt, Andy, Kirk, Ross (2003). MidiGrid: Past, Present and Future
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Jordà, Sergi (2002a). FMOL: Toward User-Friendly, Sophisticated New Musical Instruments
Jordà, Sergi (2005). Multi-user Instruments: Models, Examples and Promises
JORDÀ, Sergi (2005). Digital Lutherie: Crafting musical computers for new musics’ performance and improvisation
Kim, Jin Hyun, Seifert, Uwe (2006). Embodiment: The body in algorithmic sound generation
Koblyakov, Lev (1992). Score/Music Orientation: An Interview with Robert Rowe
Krefeld, Volker (1990). The Hand in the Web: An Interview with Michel Waisvisz
Laubier, Serge de (1998). The Meta-instrument
Lewis, George E. (2000). Too Many Notes: Computers, Complexity and Culture in {Voyager}
Ligeti, Lukas (2000). Beta Foly: Experiments with Tradition and Technology in West Africa
Livingstone, Dan, Miranda, Eduardo (2005). Orb3 - Adaptive Interface Design for Real time Sound Synthesis & Diffusion within Socially Mediated Spaces
Lowenstein, Oliver (2000). Return to the Body: Techno-Motion Musician Rolf Gehlharr’s Sound=Space
Magnusson, Thor (2006). Screen-Based Musical Interfaces as Semiotic Machines
Mandelis, James, Husbands, Phil (2003). Musical Interaction with Artificial Life Forms: Sound Synthesis and Performance Mappings
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Mathews, Max V. (1991). The Radio Baton and Conductor Program, or: Pitch, the Most Important and Least Expressive Part of Music
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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
Wilson-Bokowiec, Julie, Bokowiec, Mark Alexander (2006). Kinaesonics: The intertwining relationship of body and sound
Woolf, Sam, Yee-King, Matthew (2003). Virtual and Physical Interfaces for Collaborative Evolution of Sound



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