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Masarykova Univerzita Filozofická Fakulta Ústav Hudební Vědy Masarykova univerzita Filozofická fakulta Ústav hudební vědy Magisterská diplomová práce 2015 Dominik Oslej Masarykova univerzita Filozofická fakulta Ústav hudební vědy Teorie interaktivních médií Dominik Oslej Alternatívne dotykové rozhrania v hudobnej produkcii digitálnej éry Magisterská diplomová práce Vedoucí práce: Mgr. Martin Flašar, Ph.D. 2015 Prehlasujem, že som diplomovú prácu vypracoval samostatne s využitím uvedených prameňov a literatúry. …………………………………………….. Podpis autora práce Ďakujem mojim rodičom za podporu pri štúdiu a taktiež môjmu vedúcemu diplomovej práce Mgr. Martinovi Flašarovi, Ph.D. za cenné rady a ochotný prístup pri spracovávaní tejto magisterskej diplomovej práce. Obsah 1. Úvod .................................................................................................................................... 1 2. Elektronická hudba – uvedenie a evolúcia ......................................................................... 2 3. Nové hudobné nástroje ...................................................................................................... 7 4. Digitálny hudobný nástroj ................................................................................................. 11 4.1.1 Rozšírené akustické nástroje ............................................................................................. 15 4.1.2 Nástrojové duplikáty ......................................................................................................... 17 4.2 Kontroléry inšpirované akustickými nástrojmi ...................................................................... 17 4.3 Alternatívne kontroléry ......................................................................................................... 18 4.3.1 Kontroléry s rozšíreným rozsahom ................................................................................ 18 4.3.2 Imerzné kontroléry ........................................................................................................ 19 5. Alternatívne dotykové rozhrania pre hudobnú produkciu ............................................... 20 5.1.1 Viac – užívateľské rozhrania .............................................................................................. 21 5.1.2 Audiopad ....................................................................................................................... 22 5.1.3 ReacTable ...................................................................................................................... 25 5.2 Japonská produkcia ............................................................................................................... 28 5.2.1 Block Jam ....................................................................................................................... 28 5.2.2 Tenori – On .................................................................................................................... 31 5.2.3 PocoPoco ....................................................................................................................... 34 5.2.4 B.O.M.B. – Beat Of Magic Box ....................................................................................... 35 5.3 Pushables ............................................................................................................................... 37 5.3.1 Sonic Banana ................................................................................................................. 37 5.3.2 SillyTone Squish Factory ................................................................................................ 38 5.4 Elite ........................................................................................................................................ 39 5.4.1 T-Stick ............................................................................................................................ 39 5.4.2 Eigenharp ....................................................................................................................... 41 5.4.3 AlphaSphere .................................................................................................................. 47 5.4.4 Continuum Fingerboard ................................................................................................ 48 5.5 Nekategorizované .................................................................................................................. 51 5.5.1 The Ski ........................................................................................................................... 51 5.5.2 Sormina.......................................................................................................................... 53 5.5.3 Swayway ........................................................................................................................ 55 5.5.4 The Sound Flinger .......................................................................................................... 56 5.5.5 Notesaaz ........................................................................................................................ 58 5.5.6 MATRIX .......................................................................................................................... 60 5.6 Rozhrania s izomorfným rozvrhnutím ................................................................................... 63 5.6.1 AXiS-49 a AXiS-64 .......................................................................................................... 65 5.6.2 Opal ............................................................................................................................... 65 5.6.3 Thummer ....................................................................................................................... 66 5.6.4 Manta ............................................................................................................................ 67 5.6.5 Hex Player ...................................................................................................................... 68 5.6.6 Musix a Rainboard ......................................................................................................... 68 6. Záver .................................................................................................................................. 70 7. Resumé .............................................................................................................................. 72 8. Zoznam použitej literatúry ................................................................................................ 73 8.1 Online zdroje ......................................................................................................................... 78 1. Úvod Cieľom mojej práce je vypracovať a poskytnúť relevantný prehľad nových hudobných rozhraní, ktoré sa využívajú v (niekedy len v určitom stupni) hudobnej produkcie a ktoré sa snažia inovatívnymi spôsobmi pristupovať k zvukovej kreativite a interakcie s užívateľom. Moja téma vymedzuje triedu hudobných inštrumentov, o ktorých môžeme hovoriť ako o alternatívnych, teda netradičných inštrumentoch. Ďalej toto vymedzenie predstavuje množinu alternatívnych nástrojov, ktorých interakcia s hráčom spočíva v dotyku, teda priamej fyzickej akcie – gesta vyvolávajúce generáciu zvuku. Ide tak predovšetkým o nové digitálne hudobné rozhrania, ktoré vystupujú z palety súčasných komerčne najvyužívanejších rozhraní, a podieľajú sa na obohatení tejto oblasti svojim inovatívnym charakterom. Pojem (hudobné) rozhranie v tejto práci predstavuje ekvivalent pre slovo (hudobný) inštrument, ale z dôvodu implicitnej povahy skúmaných produktov je lepšie adresovať tieto produkty ako rozhrania. Túto problematiku objasním na nasledujúcich stránkach. Posledné vymedzenie tejto témy sa týka časovej doby – digitálnej éry. Rozkvet produkcie nových alternatívnych nástrojov, prameniac z lepšej dostupnosti a nižšej ceny stále sa vyvíjajúcich nových technológii, sa dá odsledovať na počiatok nového milénia – 21. storočia. Z dôvodu, že budem mapovať oblasť nových rozhraní v časovom úseku cca posledných 15 rokov, čo je doba ktorá nedovoľuje hlbší kritickejší odstup, resp. relevantnú komparáciu v tejto oblasti, je pre mňa najlogickejšou a v podstate jedinou možnosťou postaviť túto prácu na analyzačnom výskume dokumentácie jednotlivých rozhraní. Jadrom mojej diplomovej práce je predovšetkým teoretický výskum nových alternatívnych dotykových rozhraní, ktoré spravidla vo svojich konceptoch využívajú digitálnu technológiu. Tieto nové nástroje majú často experimentálnu podobu v zmysle, že ich tvorcovia sa snažia pretvoriť a nastoliť nové hranice v interakcii užívateľa s inštrumentom a taktiež predložiť inovatívne spôsoby produkcie zvuku. Práve interakcia s užívateľom si vyžaduje prepojenie s novými experimentmi a výsledkami z oblasti HCI – Human Comupter Interface. Produkcia alternatívnych dotykových rozhraní zahrňuje množstvo nových zaujímavých a prínosných dizajnov, ktoré sa ale nestretávajú s dostatočnou pozornosťou, (či už z akademickej pôdy alebo hudobného priemyslu) a nejestvuje tak pre tieto rozhrania vyhovujúci diskurz. V posledných rokoch táto tendencia pomaly mizne vďaka konferencii NIME, ktorá mapuje tento fenomén. Táto každoročne konajúca sa konferencia s celým názvom Interfaces for Musical Expression sústreďujúca sa na oblasť nových hudobných rozhraní a technológií, bola založená v roku 2001 ako workshop 15 ľudí. V súčasnosti táto konferencia hosťuje každým 1 rokom viac ako 200 vedcov, odborníkov
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