| This dissertation presents research into the creation of systems for the control of sound synthesis and processing. The focus differs from much of the work related to digital musical instrument design, which has rightly concentrated on the physicality of the instrument and interface: sensor design, choice of controller, feedback to performer and so on. Often times a particular choice of sound processing is made, and the resultant parameters from the physical interface are conditioned and mapped to the available sound parameters in an exploratory fashion. The main goal of the work presented here is to demonstrate the importance of the space that lies between physical interface design and the choice of sound manipulation algorithm, and to present a new framework for instrument design that strongly considers this essential part of the design process. In particular, this research takes the viewpoint that instrument designs should be considered in a musical control context, and that both control and sound dynamics must be considered in tandem.;Taken together, these different approaches to design and evaluation result in a unified framework for creation of an instrumental system. The key point is that this framework addresses the influence that mapping structure and control dynamics have on the perceived feel of the instrument. Each of the results illustrate this using either top-down or bottom-up approaches that consider musical control context, thereby pointing to the greater potential for refined sonic articulation that can be had by combining them in the design process.;In order to achieve this holistic approach, the work presented in this dissertation assumes complementary points of view. Instrument design is first seen as a function of musical context, focusing on electroacoustic music and leading to a view on gesture that relates perceived musical intent to the dynamics of an instrumental system. The important design concept of mapping is then discussed from a theoretical and conceptual point of view, relating perceptual, systems and mathematically-oriented ways of examining the subject. This theoretical framework gives rise to a mapping design space, functional analysis of pertinent existing literature, implementations of mapping tools, instrumental control designs and several perceptual studies that explore the influence of mapping structure. Each of these reflect a high-level approach in which control structures are imposed on top of a high-dimensional space of control and sound synthesis parameters. In this view, desired gestural dynamics and sonic response are achieved through modular construction of mapping layers that are themselves subject to parametric control. Complementing this view of the design process, the work concludes with an approach in which the creation of gestural control/sound dynamics are considered in the low-level of the underlying sound model. The result is an adaptive system that is specialized to noise-based transformations that are particularly relevant in an electroacoustic music context. |
