Category Archives: Publications

IDEAS Meeting, June 2015

I will be presenting at the next IDEAS meeting at UCC on the 12th June, 2015.

See you there…

G. W. Young, “Vibrotactile Feedback in Digital Musical Instrument Design,” at the IDEAS Group meeting, University College Cork, Cork, Ireland, June 12, 2015.

Abstract

Digital Musical Instruments (DMIs) present musicians with performance issues that are unique to the genre of computer music. One of the most significant deviations from conventional acoustic instruments is the level of physical feedback returned via DMIs to users. Currently, computer interfaces for musical expression are not enabled to be as physically communicative as acoustic instruments. Specifically, DMIs lack the ability to impart important performance information relating to the current state of the device to the user. In my research, it is argued that the level of haptic feedback presented can significantly affect the user’s overall rating of a DMI. In this session we will discuss my research findings to date and explore HCI inspired device evaluation methodologies that can potentially be applied in a musical contexts.

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Hilltown New Music Festival

I have composed a 7:00 minute new-musical number that shall be a part of the open call for audio recordings at the Hilltown New Music Festival. Myself and James O’Sullivan (josullivan.org) addressed the call for works relating/responding to Pierre Schaeffer’s statement of “Sound is the vocabulary of nature.” We created a tag-team extravaganza of poetry and sound that can be experienced here:
Afternoon Walk

For more information on the festival, click here:

Hilltown New Musical Festival.

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21st Century Music Technology

As we travel through the technological epochs of the twenty-first century, musicians are curiously adapting the applied sciences to suit the needs of contemporary electronic music. As musicians in the twenty-first century are exposed to portentous computing power, the genre is always changing and mutating technology into somewhat antithetic applications. The technological advances we are making in various fields are being taken up by creative individuals to make music that is often unconventional, but progressive.

In the twentieth century, we saw a rapid spurt of technological advances in the applied sciences. It was at the dawn of this era that we first saw Count Ferdinand Von Zeppelin take to the sky, and in a science lab somewhere in the world, the first radio was receiving messages through the aether. Over a period of only one hundred years we now fly through the air at thousands of kilometres per hour and almost every home on the planet has an old analogue radio receiver. So how has twenty-first century technology developed over the last decade and what does that mean for composers of modern, contemporary music?

As technological advances have progressed, so have the manners in which we produce sound and music. Throughout the twentieth century, we leaped through rapid accelerations in science, creating new musical instruments from this technology. The birth of electronic music took place, and electronic musical instruments took form from the output of engineering science labs. Engineering experts became composers and composers became sound scientists. Another fascinating change occurred as technology became musical. This was that “noise” became art and electro-acoustics became entwined with the musical genre of old. It has been convincingly argued in literature how music technology has managed to shift human mental and physical orientations, encouraging the evolution of the industrious culture we live in today…

To continue reading, please download and cite accordingly:

  • G. W. Young, (2012) “Twenty-first Century Music Technology,” in Digital Arts & Humanities: Scholarly ReflectionsJ. C. O’Sullivan Ed. [Online]:iBook and .pdf

 

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