Instruments, biomécanique et performance
Instruments, Biomechanics and Performance
Bouche artificielle avec réglages dynamiques pour le basson
Artificial mouth with dynamic settings for the bassoon
Vincent Houde-Turcotte (CIRMMT, OICRM)
Nous créons une nouvelle bouche artificielle adaptée au basson. Celle-ci est basée sur un prototype stable actuellement utilisé au saxophone. La nouvelle géométrie de la pièce permettra un ajustement de la profondeur de l’anche, ainsi qu’un réglage dynamique de la pression des lèvres artificielles. Ceci permet d’ajuster plus rapidement la calibration des prises de mesures. Le modèle est compact, léger et transportable, permettant d’augmenter l’accessibilité à un plus grand éventail d’instruments.
4m 32s
Nous créons une nouvelle bouche artificielle adaptée au basson. Celle-ci est basée sur un prototype stable actuellement utilisé au saxophone. La nouvelle géométrie de la pièce permettra un ajustement de la profondeur de l’anche, ainsi qu’un réglage dynamique de la pression des lèvres artificielles. Ceci permet d’ajuster plus rapidement la calibration des prises de mesures. Le modèle est compact, léger et transportable, permettant d’augmenter l’accessibilité à un plus grand éventail d’instruments.
4m 32s
Entre conception, composition et interprétation : élargir et incorporer le vocabulaire pour la gestuelle de haut niveau du T-Stick
Eduardo Meneses and Takuto Fukuda (CIRMMT)
The presentation will summarize the partial results of a CIRMMT Student Award project that explored how composers and performers develop the gestural vocabulary of DMIs, as well as the development of compositional and performance practices for the T-Sticks. The T-Stick is a family of gestural musical controllers designed to sense performer actions such as touching, tapping, twisting, tilting, squeezing, and shaking.
8m 2s
The presentation will summarize the partial results of a CIRMMT Student Award project that explored how composers and performers develop the gestural vocabulary of DMIs, as well as the development of compositional and performance practices for the T-Sticks. The T-Stick is a family of gestural musical controllers designed to sense performer actions such as touching, tapping, twisting, tilting, squeezing, and shaking.
8m 2s
Towards a real-time chaotic digital musical instrument based on a nonlinear physical system
Pour un instrument musical numérique chaotique en temps réel basé sur un système physique non linéaire
Matt Skarha (CIRMMT)
A new digital musical instrument is proposed based on the triple pendulum, a nonlinear physical system governed by chaotic motion. Through the use of wireless accelerometers, mechanical engineering techniques, and advances in mapping research, we can retrieve and play with chaos in a musical way.
4m 59s
A new digital musical instrument is proposed based on the triple pendulum, a nonlinear physical system governed by chaotic motion. Through the use of wireless accelerometers, mechanical engineering techniques, and advances in mapping research, we can retrieve and play with chaos in a musical way.
4m 59s
La harpe bionique
John Sullivan (CIRMMT)
"The Bionic Harp" is a research-creation collaboration between digital luthier John Sullivan and independent artist Alex Tibbitts. Building upon our previous work "Harp gesture acquisition for the control of audiovisual synthesis", we present a new musical interface for the concert harp. Where the previous project focused on free-handed gesture for the control of extra-musical parameters during performance, the resulting wearable hardware was not instrument specific. Our current work directly augments the harp with a custom sensor interface that is physically coupled with the instrument itself, thereby transforming the acoustic concert harp into a "bionic harp", providing the harpist with an ergonomic set of controls to expand their instrumental performance with additional computer-based synthesis and processing.
4m 54s
"The Bionic Harp" is a research-creation collaboration between digital luthier John Sullivan and independent artist Alex Tibbitts. Building upon our previous work "Harp gesture acquisition for the control of audiovisual synthesis", we present a new musical interface for the concert harp. Where the previous project focused on free-handed gesture for the control of extra-musical parameters during performance, the resulting wearable hardware was not instrument specific. Our current work directly augments the harp with a custom sensor interface that is physically coupled with the instrument itself, thereby transforming the acoustic concert harp into a "bionic harp", providing the harpist with an ergonomic set of controls to expand their instrumental performance with additional computer-based synthesis and processing.
4m 54s
Characterization of Saxophone Mouthpieces Using Transfer Matrix Method
Caractérisation des embouchures de saxophone à l’aide de la méthode de la matrice de transfert
Song Wang (CIRMMT)
A novel approach of modeling the saxophone mouthpiece using the transfer matrix method (TMM) is proposed in this project. A finite element model (FEM) of a mouthpiece was first built and validated by input impedance measurements. The transfer matrix model of the mouthpiece is then derived by setting two different sets of boundary conditions of the FEM. A 3D printed mouthpiece adapter is coupled with a conical pipe and the input impedance of the whole system is measured and compared with the simulated one using the TMM mouthpiece taking the measured input impedance of the same conical pipe as the load impedance.
5m 29s
A novel approach of modeling the saxophone mouthpiece using the transfer matrix method (TMM) is proposed in this project. A finite element model (FEM) of a mouthpiece was first built and validated by input impedance measurements. The transfer matrix model of the mouthpiece is then derived by setting two different sets of boundary conditions of the FEM. A 3D printed mouthpiece adapter is coupled with a conical pipe and the input impedance of the whole system is measured and compared with the simulated one using the TMM mouthpiece taking the measured input impedance of the same conical pipe as the load impedance.
5m 29s
Un nouveau microphone et interface Soundfield pour une capture audio immersive
Kathleen ‘Ying- Ying’ Zhang and Julian Vanasse (CIRMMT)
This project seeks to create a working prototype of a cube-based soundfield microphone for immersive VR or multichannel playback as well as a user-oriented plugin to accompany it. Soundfield microphones differ from uni-polar microphones in that they have multiple capsules facing different directions, making them capable of capturing a complete auditory space. The most familiar type of soundfield microphone is the tetrahedral design, which contains four capsules. The direct, four-channel signal captured by this microphone is known as “A-format.” In order to make it compatible for use in ambisonics applications such as VR it is converted into “B-format,” which involves intensive post-processing and filtering. Our proposed microphone uses a technique we term “Native B-format,” as it requires little to no post-processing to produce a B-format signal ready for playback.
4m 27s
This project seeks to create a working prototype of a cube-based soundfield microphone for immersive VR or multichannel playback as well as a user-oriented plugin to accompany it. Soundfield microphones differ from uni-polar microphones in that they have multiple capsules facing different directions, making them capable of capturing a complete auditory space. The most familiar type of soundfield microphone is the tetrahedral design, which contains four capsules. The direct, four-channel signal captured by this microphone is known as “A-format.” In order to make it compatible for use in ambisonics applications such as VR it is converted into “B-format,” which involves intensive post-processing and filtering. Our proposed microphone uses a technique we term “Native B-format,” as it requires little to no post-processing to produce a B-format signal ready for playback.
4m 27s
Repenser la performance musicale de violonistes experts grâce à l’assistance au mouvement pour permettre le ralentissement du développement de la fatigue musculaire
Clara Ziane (OICRM)
Up to 84% of instrument players are affected by musculoskeletal injuries and particularly violinists. The repetitive nature of their work leads to muscle fatigue accumulation and thus injuries. Possible modifications to violinists’ working environments must be identified to reduce muscle fatigue. Dynamic assistive support (DAS) minimizes muscle activations and potentially fatigue development. Our objectives are to quantify motor adaptation to DAS and muscular fatigue to the upper-limbs and neck. Fifteen violinists were equipped with reflective markers and electromyography sensors to record their movements and muscle activations, respectively.
9m 58s
Up to 84% of instrument players are affected by musculoskeletal injuries and particularly violinists. The repetitive nature of their work leads to muscle fatigue accumulation and thus injuries. Possible modifications to violinists’ working environments must be identified to reduce muscle fatigue. Dynamic assistive support (DAS) minimizes muscle activations and potentially fatigue development. Our objectives are to quantify motor adaptation to DAS and muscular fatigue to the upper-limbs and neck. Fifteen violinists were equipped with reflective markers and electromyography sensors to record their movements and muscle activations, respectively.
9m 58s