Interactive Instruments

Sound Production and Manipulation [SPM]  >  Electroacoustic Instruments  ]

The means and manner by which a human may interact with a machine for the purpose of music making has proven an area of immense research and activity since the days of early electronic instruments. This term is used without any great consistency, in part due to the immense scale of current research and activity in the field.

Any conceivable means of inputting data into a system to elicit some form of musically meaningful response may be considered to be a controller. In the broadest possible sense, a controller, via some form of communication between component parts (e.g. MIDI, converters, computer software) in conjunction with some means of producing or modifying sound may be termed an Interactive Instrument. Frequently, such controllers exist in homologous relationships with sensors (e.g. of movement). Thus gloves, conductors batons, toys, amongst countless other examples, may be constructed or modified to function as musical instruments.

An existing form of musical instrument may be modified through the addition of sensors, enabling control of additional electronically mediated sound generation or modification (including the instrumental sound itself) in addition to the conventional control the musician exerts over the production of the acoustic sound. Such examples are also sometimes referred to as Extended Instruments.


See also:

Controller, Data Tracking, E- and I-instruments, Gesture Capture, Interactivity, Interface, Live Electronics, MIDI, Movement Detection, Pitch-to-MIDI, Sensor



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Alphabetical order - Chronological order

Birchfield, David, Phillips, Kelly, Kidané, Assegid, Lorig, David (2006). Interactive Public Sound Art: A Case Study
Blaine , Tina (2005). The Convergence of Alternate Controllers and Musical Interfaces in Interactive Entertainment
Blaine, Tina, Fels, Sidney (2003a). Collaborative Musical Experiences for Novices
Boulanger, Richard (1990). Conducting the MIDI Orchestra, Part 1: Interviews with Max Matthews, Barry Vercoe, and Roger Dannenberg
Breinbjerg, Morten, Caprani, Ole, Lunding, Rasmus, Kramhøft, Line (2006). An Acousmatic Composition Environment
Casserley, Lawrence (2001). Plus ça change: Journeys, Instruments and Networks, 1966-2000
Chadabe, Joel (1981). Paths to a Point in a Musical Landscape
Chadabe, Joel (1983). Interactive Composing: An Overview
Clozier, Christian (2001). The Gmebaphone Concept and the Cybernéphone Instrument
Cook, Perry (2001a). Principles for Designing Computer Music Controllers
Dixon, Martin (2006). Echo’s body: Play and representation in interactive music software
Doati, Roberto, Vidolin, Alvise (1986). Nuova Atlantide. Il continente della musica elettronica 1900-1986 (New Atlantis. The electronic music continent 1900-1986)
Gaye, Layla, Holmquist, Lars Erik, Behrendt, Frauke, Tanaka, Atau (2006). Mobile Music Technology: Report on Emerging Community
Gluck, Robert J. (2005b). {Sounds of a Community}: Cultural Identity and Interactive Art
Goto, Suguru (2006). The Case Study of An Application of The System, “BodySuit” and “RoboticMusic” - Its Introduction and Aesthetics
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
Jaffe, David A., Schloss, W. Andrew (1994). The Computer Extended Ensemble
Jones, Stephen (2004). Philippa Cullen: Dancing the Music
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
Marrin, Teresa, Paradiso, Joseph (1997). The Digital Baton: A Versatile Performance Instrument
Mathews, Max V. (1991). The Radio Baton and Conductor Program, or: Pitch, the Most Important and Least Expressive Part of Music
Mäki-Patola, Teemu, Laitinen, Juha, Kanerva, Aki, Takala, Tapio (2005). Experiments with Virtual Reality Instruments
Newton-Dunn, Henry, Nakano, Hiroaki, Gibson, James (2003). Block Jam: A Tangible Interface for Interactive Music
Paine, Garth (2004). Gesture and Musical Interaction: Interactive Engagement Through Dynamic Morphology
Pellarin, Lars, Böttcher, Niels, Olsen, Jakob Mejner, Gregersen, Ole, Sarafin, Stefania, Guglielmi, Michel (2005). Connecting Strangers at a Train Station
Polansky, Larry (1983). Interview with David Rosenboom
Pressing, Jeff (1990). Cybernetic Issues in Interactive Performance Systems
Robson, Dominic (2002). PLAY: Sound Toys for Non-Musicians
Rubine, Dean, McAvinney Paul, (1990). Programmable Finger-tracking Instrument Controllers
Siegel, Wayne, Jacobsen, Jens (1999b). Composing for the Digital Dance Interface
Tanaka, Atau, Gemeinboeck, Petra (2006). A Framework for Spatial Interaction in Locative Media
Truax, Barry (1985). The PODX System: Interactive Compositional Software for the DMX-1000
Ulyate, Ryan, Bianciardi, David (2002). The Interactive Dance Club: Avoiding Chaos in a Multi-Participant Environment
Vertegaal, Roel, Ungvary, Tamas (1996). Towards a Musician’s Cockpit: Transducers, Feedback and Musical Function
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
Weinberg, Gil, Aimi, Roberto, Jennings, Kevin (2002). The Beatbug Network - A Rhythmic System for Interdependent Group Collaboration
Weinberg, Gil, Driscoll, Scott (2005). iltur - Connecting Novices and Experts Through Collaborative Improvisation
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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