• Filipe Calegario
Part of the Computational Synthesis and Creative Systems book series (CSACS)


This chapter introduces the importance of studying physical, programmable, and interactive artifacts for artistic expression for the area of human-computer interaction. Additionally, we discuss challenges in designing digital musical instruments and present the objectives with the research questions regarding the conception and implementation of those devices. Finally, we describe our approach to addressing the questions by presenting the concept of instrumental inheritance, the method of morphological analysis, and the toolkit for functional prototyping.


  1. Barbosa, J., et al.: Designing DMIs for Popular Music in the Brazilian Northeast: Lessons Learned. In: Proceedings of the International Conference on New Interfaces for Musical Expression. Anais… Bâton Rouge, US (2015a)Google Scholar
  2. Barbosa, J., et al.: What does “Evaluation” mean for the NIME community? In: Proceedings of the International Conference on New Interfaces for Musical Expression. Anais… Bâton Rouge, US (2015b)Google Scholar
  3. Blaine, T., Forlines, C.: JAM-O-WORLD: evolution of the Jam-O-Drum multi-player musical controller into the Jam-O-Whirl gaming interface. In: Proceedings of the 2002 Conference on New Interfaces for Musical Expression (NIME-02). Anais… (2002)Google Scholar
  4. Brown, T.: Design thinking. Harv. Bus. Rev. 86(6), 84–92 (2008)Google Scholar
  5. Buxton, B.: Artists and the art of the luthier. ACM SIGGRAPH Comput. Graph. Anais… 31, 10–11 (1997)CrossRefGoogle Scholar
  6. Card, S.K., Mackinlay, J.D., Robertson, G.G.: A morphological analysis of the design space of input devices. ACM Trans. Inf. Syst. 9(2), 99–122 (1991)CrossRefGoogle Scholar
  7. Cross, N.: Engineering Design Methods: Strategies for Product Design, 3rd edn. Wiley, Chichester (2000)Google Scholar
  8. Dahl, L.: Designing new musical interfaces as research: What’s the problem? Leonardo. 49(1), 76–77 (2016)CrossRefGoogle Scholar
  9. Huot, S.: Designeering Interaction: A Missing Link in the Evolution of Human-Computer Interaction. Université Paris Sud – Paris XI, Orsay (2013)Google Scholar
  10. Jordà, S., et al.: The reacTable: exploring the synergy between live music performance and tabletop tangible interfaces. In: Proceedings of the 1st International Conference on Tangible and Embedded Interaction. Anais… (2007)Google Scholar
  11. Machover, T.: Hyperinstruments – a composer’s approach to the evolution of intelligent musical instruments. In: Jacobson, L. (ed.) Cyberarts: Exploring Arts And Technology, pp. 67–76. MillerFreeman Inc., San Francisco (1992)Google Scholar
  12. Magnusson, T.: Designing constraints: composing and performing with digital musical systems. Comput. Music. J. 34(4), 62–74 (2010)CrossRefGoogle Scholar
  13. Mathews, M.V.: The radio baton and conductor program, or: Pitch, the most important and least expressive part of music. Comput. Music. J. 15(4), 37–46 (1991)CrossRefGoogle Scholar
  14. Medeiros, R., et al.: Challenges in designing new interfaces for musical expression. In: Marcus, A. (ed.) Design, User Experience, and Usability. Theories, Methods, and Tools for Designing the User Experience, pp. 643–652. Springer, Cham (2014)CrossRefGoogle Scholar
  15. Miranda, E.R., Wanderley, M.M.: New Digital Musical Instruments: Control and Interaction Beyond the Keyboard. A-R Editions, Middleton (2006)Google Scholar
  16. Nishibori, Y., Iwai, T.: Tenori-on. In: Proceedings of the 2006 International Conference on New Interfaces for Musical Expression (NIME06). Anais… Paris, France (2006)Google Scholar
  17. Paine, G.: New musical instrument design considerations. MultiMedia, IEEE. 20, 76–84 (2013)CrossRefGoogle Scholar
  18. Paine, G.: Interaction as material: the techno-somatic dimension. Organised Sound. 20(1), 82–89 (2015)CrossRefGoogle Scholar
  19. Palacio-Quintin, C.: The hyper-flute. In: Proceedings of the 2003 Conference on New Interfaces for Musical Expression (NIME-03). Anais… Montreal, Canada (2003)Google Scholar
  20. Sanders, E.B.-N., Stappers, P.J.: From designing to co-designing to collective dreaming: three slices in time. Interactions. 21, 24–33 (2014)CrossRefGoogle Scholar
  21. Torre, G., Andersen, K., Baldé, F.: The hands: the making of a digital musical instrument. Comput. Music. J. 40(2), 22–34 (2016)CrossRefGoogle Scholar
  22. Vashlishan, M.J.: The Akai Electric Wind Instrument (EWI4000s): A Technical and Expressive Method. University of Miami, Coral Gables (2011)Google Scholar
  23. Warfel, T.Z.: Prototyping: A Practitioner’s Guide. Rosenfeld Media, Brooklyn (2009)Google Scholar

Copyright information

© Springer Nature Switzerland AG 2019

Authors and Affiliations

  • Filipe Calegario
    • 1
  1. 1.Centro de Informática (CIn-UFPE)Federal University of PernambucoRecifeBrazil

Personalised recommendations