INTERACTIVE PHYSICAL DESIGN AND HAPTIC PLAYING OF VIRTUAL MUSICAL INSTRUMENTS
Identifieur interne : 000134 ( Hal/Checkpoint ); précédent : 000133; suivant : 000135INTERACTIVE PHYSICAL DESIGN AND HAPTIC PLAYING OF VIRTUAL MUSICAL INSTRUMENTS
Auteurs : James Leonard [France] ; Nicolas Castagné [France] ; Claude Cadoz [France] ; Jean-Loup Florens [France]Source :
Abstract
In Computer Music, a practical approach of many Digital Musical Instruments is to separate the gestural input stage from the sound synthesis stage. While these instruments offer many creative possibilities, they present a strong rupture with traditional acoustic instruments, as the physical coupling between human and sound is broken. This coupling plays a crucial role for the expressive musical playing of acoustic instruments; we believe restoring it in a digital context is of equal importance for revealing the full expressive potential of digital instruments. This paper first presents haptic and physical modelling technologies for representing the mechano-acoustical instrumental situation in the context of DMIs. From these technologies, a prototype environment has been implemented for both designing virtual musical instruments and interacting with them via a force feedback device, able to preserve the energetic coherency of the musician-sound chain.
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While these instruments offer many creative possibilities, they present a strong rupture with traditional acoustic instruments, as the physical coupling between human and sound is broken. This coupling plays a crucial role for the expressive musical playing of acoustic instruments; we believe restoring it in a digital context is of equal importance for revealing the full expressive potential of digital instruments. This paper first presents haptic and physical modelling technologies for representing the mechano-acoustical instrumental situation in the context of DMIs. From these technologies, a prototype environment has been implemented for both designing virtual musical instruments and interacting with them via a force feedback device, able to preserve the energetic coherency of the musician-sound chain.</div></front></TEI><hal api="V3"><titleStmt><title xml:lang="en">INTERACTIVE PHYSICAL DESIGN AND HAPTIC PLAYING OF VIRTUAL MUSICAL INSTRUMENTS</title><author role="aut"><persName><forename type="first">James</forename><surname>Leonard</surname></persName><email>leonard@imag.fr</email><idno type="halauthor">1093983</idno><affiliation ref="#struct-59688"></affiliation></author><author role="aut"><persName><forename type="first">Nicolas</forename><surname>Castagné</surname></persName><email>castagne@imag.fr</email><idno type="halauthor">1093984</idno><affiliation ref="#struct-59688"></affiliation></author><author role="aut"><persName><forename type="first">Claude</forename><surname>Cadoz</surname></persName><email>cadoz@imag.fr</email><idno type="halauthor">1093985</idno><affiliation ref="#struct-59688"></affiliation></author><author role="aut"><persName><forename type="first">Jean-Loup</forename><surname>Florens</surname></persName><email>florens@imag.fr</email><idno type="halauthor">1093986</idno><affiliation ref="#struct-59688"></affiliation></author><editor role="depositor"><persName><forename>Anne</forename><surname>Veitl</surname></persName><email>bib.acroe-ica@imag.fr</email></editor></titleStmt><editionStmt><edition n="v1" type="current"><date type="whenSubmitted">2014-12-02 15:44:05</date><date type="whenWritten">2013</date><date type="whenModified">2016-03-21 17:38:14</date><date type="whenReleased">2014-12-03 15:07:19</date><date type="whenProduced">2013-08-11</date><date type="whenEndEmbargoed">2014-12-01</date><ref type="file" target="https://hal.archives-ouvertes.fr/hal-01089222/document"><date notBefore="2014-12-01"></date></ref><ref type="file" subtype="greenPublisher" n="1" target="https://hal.archives-ouvertes.fr/hal-01089222/file/LCC13_Conf_ICMC.pdf"><date notBefore="2014-12-01"></date></ref></edition><respStmt><resp>contributor</resp><name key="181606"><persName><forename>Anne</forename><surname>Veitl</surname></persName><email>bib.acroe-ica@imag.fr</email></name></respStmt></editionStmt><publicationStmt><distributor>CCSD</distributor><idno type="halId">hal-01089222</idno><idno type="halUri">https://hal.archives-ouvertes.fr/hal-01089222</idno><idno type="halBibtex">leonard:hal-01089222</idno><idno type="halRefHtml">International Computer Music Conference, Aug 2013, Perth, Australia. pp.108-115, 2013, Proceedings of the 2013 ICMC</idno><idno type="halRef">International Computer Music Conference, Aug 2013, Perth, Australia. pp.108-115, 2013, Proceedings of the 2013 ICMC</idno></publicationStmt><seriesStmt><idno type="stamp" n="ACROE-ICA" p="UGA">ACROE - Ingénierie de la Création Artistique</idno><idno type="stamp" n="INPG" p="UGA">Institut polytechnique de Grenoble</idno><idno type="stamp" n="UGA">HAL Grenoble Alpes</idno><idno type="stamp" n="TDS-MACS">Réseau de recherche en Théorie des Systèmes Distribués, Modélisation, Analyse et Contrôle des Systèmes</idno></seriesStmt><notesStmt><note type="audience" n="2">International</note><note type="invited" n="0">No</note><note type="popular" n="0">No</note><note type="peer" n="1">Yes</note><note type="proceedings" n="1">Yes</note></notesStmt><sourceDesc><biblStruct><analytic><title xml:lang="en">INTERACTIVE PHYSICAL DESIGN AND HAPTIC PLAYING OF VIRTUAL MUSICAL INSTRUMENTS</title><author role="aut"><persName><forename type="first">James</forename><surname>Leonard</surname></persName><email>leonard@imag.fr</email><idno type="halAuthorId">1093983</idno><affiliation ref="#struct-59688"></affiliation></author><author role="aut"><persName><forename type="first">Nicolas</forename><surname>Castagné</surname></persName><email>castagne@imag.fr</email><idno type="halAuthorId">1093984</idno><affiliation ref="#struct-59688"></affiliation></author><author role="aut"><persName><forename type="first">Claude</forename><surname>Cadoz</surname></persName><email>cadoz@imag.fr</email><idno type="halAuthorId">1093985</idno><affiliation ref="#struct-59688"></affiliation></author><author role="aut"><persName><forename type="first">Jean-Loup</forename><surname>Florens</surname></persName><email>florens@imag.fr</email><idno type="halAuthorId">1093986</idno><affiliation ref="#struct-59688"></affiliation></author></analytic><monogr><meeting><title>International Computer Music Conference</title><date type="start">2013-08-11</date><date type="end">2013-08-17</date><settlement>Perth</settlement><country key="AU">Australia</country></meeting><imprint><biblScope unit="serie">Proceedings of the 2013 ICMC</biblScope><biblScope unit="pp">108-115</biblScope><date type="datePub">2013</date></imprint></monogr></biblStruct></sourceDesc><profileDesc><langUsage><language ident="en">English</language></langUsage><textClass><classCode scheme="halDomain" n="info.info-hc">Computer Science [cs]/Human-Computer Interaction [cs.HC]</classCode><classCode scheme="halDomain" n="info.info-mo">Computer Science [cs]/Modeling and Simulation</classCode><classCode scheme="halDomain" n="info.info-sd">Computer Science [cs]/Sound [cs.SD]</classCode><classCode scheme="halTypology" n="COMM">Conference papers</classCode></textClass><abstract xml:lang="en">In Computer Music, a practical approach of many Digital Musical Instruments is to separate the gestural input stage from the sound synthesis stage. While these instruments offer many creative possibilities, they present a strong rupture with traditional acoustic instruments, as the physical coupling between human and sound is broken. This coupling plays a crucial role for the expressive musical playing of acoustic instruments; we believe restoring it in a digital context is of equal importance for revealing the full expressive potential of digital instruments. This paper first presents haptic and physical modelling technologies for representing the mechano-acoustical instrumental situation in the context of DMIs. From these technologies, a prototype environment has been implemented for both designing virtual musical instruments and interacting with them via a force feedback device, able to preserve the energetic coherency of the musician-sound chain.</abstract></profileDesc></hal></record>Pour manipuler ce document sous Unix (Dilib)
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