Digital Instruments and Players: Part I - Efficiency and Apprenticeship
Digital Instruments and Players: Part I - Efficiency and Apprenticeship
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数字乐器和播放器：第一部分 - 效率和学徒
DOI：
10.5281/zenodo.1176619
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发表时间：
2004
影响因子：
0.9
通讯作者：
S. Jordà
中科院分区：
文献类型：
--
作者：
S. Jordà
当设想新的数字乐器时，设计师不必局限于他们的声音能力（这绝对可以是任何），甚至不必局限于他们的算法能力；他们还必须特别注意乐器的概念能力，注意乐器对演奏者施加或暗示的新思维方式，建立关系的新方式，互动的新方式，组织时间和纹理的新方式；简而言之，就是演奏新音乐的新方法。本文探讨了演奏者和乐器之间建立的动态关系，引入了效率、学徒制和学习曲线等概念，旨在构建一个框架，在这个框架中，乐器的可能性和多样性以及人类音乐表演者的可能性和表达自由可以开始被评估。
When envisaging new digital instruments, designers do not have to limit themselves to their sonic capabilities (which can be absolutely any), not even to their algorithmic power; they must be also especially careful about the instruments' conceptual capabilities, to the ways instruments impose or suggest to their players new ways of thinking, new ways of establishing relations, new ways of interacting, new ways of organizing time and textures; new ways, in short, of playing new musics. This article explores the dynamic relation that builds between the player and the instrument, introducing concepts such as efficiency, apprenticeship and learning curve It aims at constructing a framework in which the possibilities and the diversity of music instruments as well as the possibilities and the expressive freedom of human music performers could start being evaluated.