Research Phylosophy

 




 
 
 
 
 


 

In contemporary music, composers consider “sound”, in a wide sense, rather than “notes” as the building block for composing and performing.
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 hands).
On 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 loudspeakers.

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 computer for 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 recognition 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 instrument 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 traditional instruments 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 performance.

see paper : About the role of mapping in Gesture-Controlled Live Computer Music  (CMMR2003 - Springer)
see paper : Improvising Computer Music, SMC04, Ircam, Paris 2004
see paper : Lo strumentario informatico quale nuovo strumento musicale, Gorizia 2005