In contemporary music, composers consider “sound”, in
sense, rather than “notes” as the building block for composing and
A traditional musical
instrument is a compact and well defined tool: traditional music is played
by manipulating mechanical tools, i.e. the
musical instruments (manipulation derives from “mani”, Italian for
the other hand the
new electro-acoustic instrument is a system, a
sort of an exploded
instrument consisting of a number of spread out components: sensors and
controllers, computers and electronic sound generators, amplifiers and
At the cART Lab of ISTI/CNR in Pisa, attention has been focused on
designing and developing original man-machine interfaces for remote
sensing (i.e. without mechanical
and/or electrical links) gesture of a perfomer.
These gesture recognition devices produce data-flows used by the
producing sound. How to link this information to sound is
referred to as “mapping” that is the possibility to put into
relationship both data coming from gesture
devices and algorithms which generate musical events and sound.
How to link, that is how to
map, information between the various parts of this exploded
is deeply correlated to new modalities of composing and performing in
relationship with how the audience perceive and accept that.
The simple one-to-one mapping rule valid for
leaves room to a wide range of mapping rules definable by the composer
for a specific piece and even for each part of that piece.
Therefore, mapping is a part of the composition and of the real-time
see paper : About the role
of mapping in Gesture-Controlled Live Computer Music (CMMR2003 -
: Improvising Computer Music, SMC04, Ircam, Paris 2004
: Lo strumentario informatico quale nuovo strumento musicale, Gorizia