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Thesis Info
- LABS ID
- 00663
- Thesis Title
- Sketching Sound: Gestural Interaction in Expressive Music Programming
- Author
- Spencer Salazar
- E-mail
- spencer.salazar AT gmail.com
- 2nd Author
- 3rd Author
- Degree
- PhD
- Year
- 2017
- Number of Pages
- 146
- University
- Stanford University
- Thesis Supervisor
- Dr. Ge Wang
- Supervisor e-mail
- ge AT ccrma.stanford.edu
- Other Supervisor(s)
- Language(s) of Thesis
- English
- Department / Discipline
- Music
- Copyright Ownership
- Copyright 2017 Spencer Salazar
- Languages Familiar to Author
- English
- URL where full thesis can be found
- purl.stanford.edu/mf249vj6694
- Keywords
- computer music, mobile technology, sketching, audio synthesis
- Abstract: 200-500 words
- New developments in technology lead to new types of interactions in computer music performance and composition. In the realm of mobile touchscreen devices such as phones and tablet computers, a variety of research efforts and software applications have explored the musical possibilities of multitouch interaction, the physical properties of the devices themselves, the orientation and location sensing of the devices, and their persistent connection to the network. However, these interactions have been largely ignored in the space of music programming on the device itself. We have developed two prototype systems to explore concepts employing these interactions and technologies to program music on mobile touchscreen devices. The first of these, miniAudicle for iPad, is an environment for programming ChucK code on an iPad. The second prototype developed is a sound design and music composition system utilizing touch and handwritten stylus input. In this system, called "Auraglyph, " users draw a variety of audio synthesis structures, such as oscillators and filters, in an open canvas. Once created, these structures may be further parameterized by touch and other hand-drawn figures. These systems and the principles they embody have been evaluated personally by the author and with feedback from a variety of musicians and music technologists. Ultimately, we believe this research shows that the critical parameters for developing sophisticated software for new interaction technologies are consideration of the technology's inherent affordances and mindful attention to design. To this end, we have proposed a set of principles for designing these systems stemming from this research and previous research in this field.