Digital Musical Interactions: Performer-System Relationships and their Perception by Spectators

This article adopts an ecological view of digital musical interactions, first considering the relationship between performers and digital systems, and then spectators’ perception of these interactions. We provide evidence that the relationships between performers and digital music systems are not necessarily instrumental in the same was as they are with acoustic systems, and nor should they always strive to be. Furthermore, we report results of a study suggesting that spectators may not perceive such interactions in the same way as performances with musical instruments. We present implications for the design of digital musical interactions, suggesting that designers should embrace the reality that digital systems are malleable and dynamic, and may engage performers and spectators in different modalities, sometimes simultaneously.

A Framework for the Evaluation of Digital Musical Instruments

At the outset of a discussion of evaluating digital musical instruments, that is to say instruments whose sound generators are digital and separable though not necessarily separate from their control interfaces (Malloch, 2006), it is reasonable to ask what the term evaluation in this context really means. After all, there may be many perspectives from which to view the effectiveness or otherwise of the instruments we build. For most performers, performance on an instrument becomes a means of evaluating how well it functions in the context of live music making, and their measure of success is the response of the audience to their performance. Audiences evaluate performances on the basis of how engaged they feel they have been by what they have seen and heard. When questioned, they are likely to describe good performances as “exciting,” “skillful,” “musical.” Bad performances are “boring,” and those which are marred by technical malfunction are often dismissed out of hand. If performance is considered to be a valid means of evaluating a musical instrument, then it follows that, for the field of DMI design, a much broader definition of the term “evaluation” than that typically used in human-computer interaction (HCI) is required to reflect the fact that there are a number of stakeholders involved in the design and evaluation of DMIs. In addition to players and audiences, there are also composers, instrument builders, component manufacturers, and perhaps even customers, each of whom will have a different concept of what is meant by “evaluation.”

Low power field programmable gate array implementation of fast digital signal processing algorithms: characterisation and manipulation of data locality

Dynamic power consumption is very dependent on interconnect, so clever mapping of digital signal processing algorithms to parallelised realisations with data locality is vital. This is a particular problem for fast algorithm implementations where typically, designers will have sacrificed circuit structure for efficiency in software implementation. This study outlines an approach for reducing the dynamic power consumption of a class of fast algorithms by minimising the index space separation; this allows the generation of field programmable gate array (FPGA) implementations with reduced power consumption. It is shown how a 50% reduction in relative index space separation results in a measured power gain of 36 and 37% over a Cooley-Tukey Fast Fourier Transform (FFT)-based solution for both actual power measurements for a Xilinx Virtex-II FPGA implementation and circuit measurements for a Xilinx Virtex-5 implementation. The authors show the generality of the approach by applying it to a number of other fast algorithms namely the discrete cosine, the discrete Hartley and the Walsh-Hadamard transforms.