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Adaptive Music Technology: History and Future Perspectives

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Adaptive Music Technology: History and Future Perspectives ICMC 2015 – Sept. 25 - Oct. 1, 2015 – CEMI, University of North Texas Adaptive Music Technology: History and Future Perspectives Kimberlee Graham-Knight George Tzanetakis University of Victoria University of Victoria [email protected] [email protected] ABSTRACT 2. BACKGROUND Computer music technology opens new possibilities in the design of new musical instruments for physically disabled Robert Moog notes there are “three diverse deterninants musicians. The field of adaptive music technology has been of musical instrument design and musical instrument struc- relatively unexplored in the computer music literature. ture. The first is the sound generator; the second is the inter- In this paper, we provide an overview of existing work in face between the musician and the sound generator; the third this field, and describe in more detail two representative is the... visual reality of the instrument [4].” It is useful to examples. Informed by this overview we propose a set of look at the technologies that have led up to the design of the principles for how to work with a disabled participant to adaptive musical instruments listed in Table 1. develop a new musical instrument. We hope that these prin- Perhaps the single biggest development that has made ciples will help stimulate and evolve future work in the field adaptive music technology possible is the advent of MIDI in of adaptive music technology. 1983. This allowed for rapid and simple transport of musical commands. Shortly after that development instruments such 1. INTRODUCTION as the Soundbeam, which uses a sonar beam that triggers MIDI events when interrupted, and the Magic Flute, which The field of adaptive music technology has been growing triggers MIDI notes using a breath pressure sensor, began to since the late 1980s. Before that, advances in adaptive tech- be introduced. Other adaptive musical instruments that use nology (such as electric wheelchairs) and music technology MIDI include the Head=Space, the Doozaphone, the Jam- (such as the Theremin) laid the ground work for the field. boxx, the Yamaha WX5, the Canstrument, the Dimension The field is important because it provides a way for people Beam, the MidiCreator/MidiGesture/MidiSensor, the Op- with physical disabilities to play music they could not oth- tivideotone, the Synth-A-Beams, the Skoog and the AUMI. erwise play [1]. It opens up music making to many people The makers of the Soundbeam cite the Thereminovox who would otherwise not be able to participate. Benefits of as an ancestor and inspiration. Indeed, the idea of a no-touch music making for the disabled can include increased self- instrument makes sense for many disabilities. Instruments awareness, increased agency, and increased control [2]. such as Moog's Ethervox have evolved from both the Because it is so important to develop new instruments Theremin and from MIDI. that people with disabilities can play, it's key to develop a Another important development for certain touchless set of considerations to use when making a new instrument. sensors is sonar. This was developed to aid in underwater This can be done by evaluating cases of pre-existing adap- tracking and detection at large distances, and is used in tive musical instruments and how they were developed, as many adaptive instruments because it is very robust. well as by surveying some of the literature about adaptive Some touchless sensors, such as the Microsoft Kinect, music technology. use infrared light [5]. The Kinect contains an infrared Adaptive music technology can be defined as the use transmitter and, right beside it on the camera, a receiver. of digital technologies to allow a person who cannot other- When the light is emitted, it bounces off three-dimensional wise play a traditional musical instrument, to play music shapes, then returns to the sensor. The angle of refraction of unaided. The term assistive music technology has been used the light allows the Kinect to compose a three-dimensional in much literature [3], but the word ‘assistance’ implies an image of the world in its view. external source that provides aid to a person in need. In con- Breath pressure sensors contain a membrane that has a trast, ‘adaptive’ implies a constant state of refinement, and pressure differential across it when blown into. The ones an adjustment to the situation of the musician. made for the use of disabled humans typically have a range Copyright: © 2015 Graham-Knight et al. This is an open-access article dis- of 0 to 1.5psi. Quadriplegics often lose lung capacity due to tributed under the terms of the Creative Commons Attribution License 3.0 inactivity, so breath pressure sensors incorporated into in- Unported, which permits unrestricted use, distribution, and reproduction in struments may actually increase lung capacity with use over any medium, provided the original author and source are credited. time. – 416 – ICMC 2015 – Sept. 25 - Oct. 1, 2015 – CEMI, University of North Texas Touchless Sensor Musical Instruments Ethervox A Theremin-like instrument that 3. TWO CASE STUDIES: THE sends MIDI messages (1997) SOUNDBEAM AND THE MAGIC Dimension Beam An infrared light beam MIDI control- ler (1997) FLUTE I-Cube A variety of body sensors that are attached to a MIDI “Digitizer” (1996) 3.1 The EMS Soundbeam MidiCreator/ (2001-2006) Receives sound from MidiGesture/ many switches and outputs MIDI The Soundbeam is a sonar beam that triggers MIDI MidiSensor data. events when the beam is obstructed [7]. The unit has a EMS Soundbeam (1989) Sonar at 50kHz forms a beam MIDI cable that plugs into its main device for sound synthe- that, when interrupted, triggers MIDI sis. It was first introduced by composer Edward Williams at events. the Frankfurt International Music Fair in 1988 as Microsoft Kinect (2010) An infrared sensor that detects Soundbeam 1. That version had a single sonar beam with limb and joint positions and returns the ability to add up to three more slave beams, and a menu them as three-dimensional vectors. of ten preset scales with the ability to store an up to 16-note Breath Pressure Sensor Musical Instruments pitch sequence in volatile memory. Yamaha WX5 (1997) Similar to a clarinet, but out- Soundbeam 2 was released in 1998 and remained in use puts MIDI from breath pressure data. until 2010 when Soundbeam 5 came out. It had non-volatile Magic Flute (2001) Breath sensor with gyroscope memory and tactile switches (as foot pedals) to alter the that allows the performer to make sound, and could allow for up to four sensors to be connect- MIDI notes by moving the head up ed to the main unit. and down and blowing. Soundbeam 5 was released in 2010 after many iterations Jamboxx A harmonica-like wind MIDI instru- of user experience and feedback. It incorporates an internal ment. synthesizer and sampler, dispensing with the need for exter- Doozaphone (2015) A prototype designed by Rolf nal modules and sound synthesizers. An important devel- Gehlhaar, the maker of the opment with Soundbeam 5 is the ability to store preset mel- Head=Space. odies and harmonies. This makes possible a more methodi- Head=Space (2000) Based on the Headmaster cal and progressive menu of presets (improvisations, tunes 2000, a breath-based interface using and themes) than was available with Soundbeam 2. Max/MSP. The Soundbeam 5 has a number of control parameters, Biosensor Musical Instruments which allow its range to be adjusted between 25 centimetres BioVolt (formerly (1992) Bioelectrical signal controller. and 9 metres. This allows performers who have a relatively BioMuse) small range of motion to play a large range of notes, as the Brain Machine (1998) EEG sensors attached to the smaller range concentrates note information. There are also Mode settings which allow the player to adjust which notes (formerly IBVA) head that create “interactive Mind are played (scales or arpeggios), how many notes can be Music.” played (from one to 64), and various parameters such as Video-based Systems velocity and pitch bend. Mandala VR Sys- When creating the Soundbeam, Tim Swingler kept in tem mind the importance of making the performer feel they can Adaptive Use Mu- (2007) Software that translates video initiate something. That is, the idea of cause (the musician sical Interface from a webcam into motion that trig- performing a gesture) and result (a pleasing musical sound) (AUMI) gers MIDI events. is central to the development of the Soundbeam. Very Nervous Sys- (1983-1990) A 3D interactive sound One virtuosic performer of the Soundbeam is Ari Kinar- tem interface thy of Victoria, British Columbia [8]. Other Adaptive Musical Interfaces Skoog (2008) A tactile cube with multicol- 3.2 The Magic Flute oured buttons that when squeezed or pushed sends MIDI data. The Magic Flute is a breath pressure sensor that also trig- Canstrument (2014) A MIDI software app that gers MIDI notes [9]. Inspired by a slide flute and the Yama- uses the iPhone’s accelerometer sen- ha WX5, it is the brainchild of Ruud van der Waal and Da- sor. vid Whalen, who first envisioned the instrument in January 2006. In half a year, after being rejected by many universi- ties, they had a prototype built by Brian Dillon from Unique Table 1. Adaptive Music Technology Instruments [6]. This list Perspectives. The prototype was a breath sensor with a gy- includes only instruments that have a digital component. roscope that had 8 tone scales and a MIDI out. – 417 – ICMC 2015 – Sept. 25 - Oct. 1, 2015 – CEMI, University of North Texas The Magic Flute is mounted on a swiveling camera stand, difference between being able to move in a direction, and and the performer moves it by holding the mouthpiece and feeling comfortable moving in a direction.
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