|Journal of New Music Research|
|Vol 41:4, pp 365-375, 2012. Special Issue: Creativity Rethinks Science|
Active listening and expressive communication for
|Kjetil Falkenberg Hansen, Christina Dravins, Roberto Bresin|
Please send us an email for a link to a free copy of the article from Taylor & Francis Publ.
The video example is in three formats (mp4, ogv and webm). The sound files are wav. If your browser does not support these, or you encounter other problems, please feel free to ask kjetil -at- kth.se for the file. It is also appreciated that the video is not redistributed, and used only with written permission from the authors. Thank you for your understanding.
Section 1.1, page 366
|An illustrative case of the Soundscraper in use involved a boy with very poor hearing above the lower frequency region, who had fun when "driving a motorcycle". Using a sound recording of a big motorbike, an inertia sensor placed in a plastic toy controlled the parameters of a vocoder effect: a forward motion changed the pitch from low to high frequency and tilting changed the playback position in the sound file. Additionally, delay effects were controlled by the measured amount of movement. These three simple gesture-to-sound mappings created a noisy and unrealistically rich motor sound, and it kept him attentive for longer than half an hour.
In the video, two boys are playing with the motorcycle and theremin sounds. It is quite clear to see from the reactions when the audio is muted that they not only hear, but also know they are affecting the sound.
Section 4.1.1, page 369
|In the so-called Looper module, a segment of a recorded sound is selected and played back with continuous repetition, inspired by a DJ-application called Skipproof (Hansen and Bresin, 2010). Loop segments can be varied from the whole sound file of several seconds duration down to a few milliseconds, but the typical loop lengths are at least 200-300 ms.|
Section 4.1.2, page 369
|An implementation of a Theremin plays sweeping tones across a broad frequency range to assess pitch perception.|
Section 4.1.2, page 370
|Pulse trains of bandpass-filtered white noise bursts offer possibilities to manipu- late parameters in a rhythmic sequence of tones.|