Marcelo Wanderley
Biographic Data
| ID | 1485477 |
|---|---|
| NAME | Marcelo Wanderley |
| GIVEN NAMES | Marcelo |
| FAMILY NAME | Wanderley |
| SIGNATURE | WANDERLEY M |
| AFFILIATIONS | McGill University |
| ORCID | 0000-0002-9169-4313 |
| VERIFIED | Yes |
| TOTAL WORKS | 14 |
| TOTAL CITATIONS | 16 |
| AUTHOR COUNT | 14 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2003 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
User experience with digital musical instruments: A transferable method for longitudinal evaluation
We present the development and demonstration of a transferable method for studying user experience (UX) with digital musical instruments (DMIs) over time. We introduce DMIs, music interaction, stakeholders, and observable experiential aspects of the user-instrument relationship (UIR), grounding the development of our method in theoretical frameworks from human–computer interaction and music technology. We discuss structured evaluation strategies …
Virtual Partners Improve Synchronization in Human−Machine Trios
The interplay between auditory and motor processes in sensorimotor synchronization is crucial for achieving a cohesive group performance, particularly in musical groups. This study addressed the impact of virtual partners on synchronization performance in human trios. With a novel methodology, the study utilized virtual partners driven by computational models to simulate real‐time synchronization with human participants. Trio synchronization with…
On mapping as a technoscientific practice in digital musical instruments
This article provides historical context for the emergence of ‘mapping’ as a key conceptual metaphor in the context of digital musical instrument (DMI) design and use. In addition to a consideration of different technical implementations, we offer a critical assessment of the tendency to over-generalise mapping as a universal model for both building instruments and analysing them in retrospect. This reification of mapping as a design model, as we…
Force-Feedback and Music: Five Decades of Research and Development at Acroe: An Interview with Claude Cadoz (Acroe, Grenoble, France)
Recorded on March 23 and 2023 [...]
Can Ubimus Technologies affect our Musicality
Recent works recognize musicality is based on and constrained by our cognitive and biological system. Taking in account a concept from cognitive science - cognitive offloading - as a principle for technology-supported musical activities, in this paper we discuss some principles (guidelines) to be taken into account when designing, developing and evaluating computer music technologies, especially those related to ubimus. We think that Ubimus techn…
Surveying digital musical instrument use in active practice
Digital musical instruments are frequently designed in research and experimental performance contexts but few are taken up into sustained use by active and professional musicians. To identify the needs of performers who use novel technologies in their practices, a survey of musicians was conducted that identified desirable qualities for instruments to be viable in active use, along with attributes for successful uptake and continued use of instru…
Integrating Gesture Data in Computer-aided Composition: A Framework for Representation, Processing and Mapping
In this article, we discuss physical gestures from the perspective of computer-aided composition (CAC) and propose solutions for the integration of gesture signals as musical materials into these environments. After presenting background and motivations, we review related works and describe design guidelines for our developments. A particular focus is given to the idiosyncrasies of working with gestures in real-time vs differed-time paradigms. We…
Motion Analysis of Clarinet Performers
In this work we evaluate the gesture consistency of 13 clarinetists during several performances. The goal is to establish an objective relation between their expressive gestural patterns and the music structure of two selected excerpts, by Mozart and Brahms. We present a method to represent, segment and analyse the patterns of recurrence on motion data during musical performances. Physical gestures were extracted during clarinet performances and …
Segmenting and Parsing Instrumentalists' Gestures
This article presents a segmentation model applied to musician movements, taking into account different time structures. In particular we report on ancillary gestures that are not directly linked to sound production, whilst still being entirely part of the global instrumental gesture. Precisely, we study movements of the clarinet captured with an optical 3D motion capture system, analysing ancillary movements assuming that they can be considered …
Sensor Choice for Parameter Modulations in Digital Musical Instruments: Empirical Evidence from Pitch Modulation
This paper describes ongoing research into the design of new digital musical instruments (DMIs). While many new DMIs have been created using a variety of sensors, there has been relatively little empirical research into determining the optimal choice of sensor for control of specific musical functions. In this paper we attempt to identify an optimal choice of sensor for the control of parameter modulations in a DMI. Two experiments were conducted…
Cross-modal interactions in the perception of musical performance
Mapping strategies for gestural and adaptive control of digital audio effects
This paper discusses explicit mapping strategies for gestural and adaptive control of digital audio effects. We address the problem of defining what is the control and what is the effect. We then propose a mapping strategy derived from mapping techniques used in sound synthesis. The explicit mapping strategy we developed has two levels and two layers for each level: the first level is the adaptive control with a feature combination layer and a co…
The Musical Significance of Clarinetists' Ancillary Gestures: An Exploration of the Field
This article presents results from an ongoing exploratory analysis of ancillary gestures of several advanced clarinetists playing standard concert solo repertoire. We build upon our previous work involving the analysis of clarinetists' gestures by focusing on the timing of various performance manners, the relation that ancillary gestures have to the musical score, the different styles of expressive movements among performers, and the perception o…
The Importance of Parameter Mapping in Electronic Instrument Design
In this paper we challenge the assumption that an electronic instrument consists solely of an interface and a sound generator. We emphasise the importance of the mapping between input parameters and system parameters, and claim that this can define the very essence of an instrument
The Musical Significance of Clarinetists' Ancillary Gestures: An Exploration of the Field
This article presents results from an ongoing exploratory analysis of ancillary gestures of several advanced clarinetists playing standard concert solo repertoire. We build upon our previous work involving the analysis of clarinetists' gestures by focusing on the timing of various performance manners, the relation that ancillary gestures have to the musical score, the different styles of expressive movements among performers, and the perception o…
The Importance of Parameter Mapping in Electronic Instrument Design
In this paper we challenge the assumption that an electronic instrument consists solely of an interface and a sound generator. We emphasise the importance of the mapping between input parameters and system parameters, and claim that this can define the very essence of an instrument
Segmenting and Parsing Instrumentalists' Gestures
This article presents a segmentation model applied to musician movements, taking into account different time structures. In particular we report on ancillary gestures that are not directly linked to sound production, whilst still being entirely part of the global instrumental gesture. Precisely, we study movements of the clarinet captured with an optical 3D motion capture system, analysing ancillary movements assuming that they can be considered …
Sensor Choice for Parameter Modulations in Digital Musical Instruments: Empirical Evidence from Pitch Modulation
This paper describes ongoing research into the design of new digital musical instruments (DMIs). While many new DMIs have been created using a variety of sensors, there has been relatively little empirical research into determining the optimal choice of sensor for control of specific musical functions. In this paper we attempt to identify an optimal choice of sensor for the control of parameter modulations in a DMI. Two experiments were conducted…
The Importance of Parameter Mapping in Electronic Instrument Design
In this paper we challenge the assumption that an electronic instrument consists solely of an interface and a sound generator. We emphasise the importance of the mapping between input parameters and system parameters, and claim that this can define the very essence of an instrument
The Musical Significance of Clarinetists' Ancillary Gestures: An Exploration of the Field
This article presents results from an ongoing exploratory analysis of ancillary gestures of several advanced clarinetists playing standard concert solo repertoire. We build upon our previous work involving the analysis of clarinetists' gestures by focusing on the timing of various performance manners, the relation that ancillary gestures have to the musical score, the different styles of expressive movements among performers, and the perception o…
Cross-modal interactions in the perception of musical performance
Mapping strategies for gestural and adaptive control of digital audio effects
This paper discusses explicit mapping strategies for gestural and adaptive control of digital audio effects. We address the problem of defining what is the control and what is the effect. We then propose a mapping strategy derived from mapping techniques used in sound synthesis. The explicit mapping strategy we developed has two levels and two layers for each level: the first level is the adaptive control with a feature combination layer and a co…
Sensor Choice for Parameter Modulations in Digital Musical Instruments: Empirical Evidence from Pitch Modulation
This paper describes ongoing research into the design of new digital musical instruments (DMIs). While many new DMIs have been created using a variety of sensors, there has been relatively little empirical research into determining the optimal choice of sensor for control of specific musical functions. In this paper we attempt to identify an optimal choice of sensor for the control of parameter modulations in a DMI. Two experiments were conducted…
Segmenting and Parsing Instrumentalists' Gestures
This article presents a segmentation model applied to musician movements, taking into account different time structures. In particular we report on ancillary gestures that are not directly linked to sound production, whilst still being entirely part of the global instrumental gesture. Precisely, we study movements of the clarinet captured with an optical 3D motion capture system, analysing ancillary movements assuming that they can be considered …
Motion Analysis of Clarinet Performers
In this work we evaluate the gesture consistency of 13 clarinetists during several performances. The goal is to establish an objective relation between their expressive gestural patterns and the music structure of two selected excerpts, by Mozart and Brahms. We present a method to represent, segment and analyse the patterns of recurrence on motion data during musical performances. Physical gestures were extracted during clarinet performances and …
Integrating Gesture Data in Computer-aided Composition: A Framework for Representation, Processing and Mapping
In this article, we discuss physical gestures from the perspective of computer-aided composition (CAC) and propose solutions for the integration of gesture signals as musical materials into these environments. After presenting background and motivations, we review related works and describe design guidelines for our developments. A particular focus is given to the idiosyncrasies of working with gestures in real-time vs differed-time paradigms. We…
Can Ubimus Technologies affect our Musicality
Recent works recognize musicality is based on and constrained by our cognitive and biological system. Taking in account a concept from cognitive science - cognitive offloading - as a principle for technology-supported musical activities, in this paper we discuss some principles (guidelines) to be taken into account when designing, developing and evaluating computer music technologies, especially those related to ubimus. We think that Ubimus techn…
Surveying digital musical instrument use in active practice
Digital musical instruments are frequently designed in research and experimental performance contexts but few are taken up into sustained use by active and professional musicians. To identify the needs of performers who use novel technologies in their practices, a survey of musicians was conducted that identified desirable qualities for instruments to be viable in active use, along with attributes for successful uptake and continued use of instru…
Force-Feedback and Music: Five Decades of Research and Development at Acroe: An Interview with Claude Cadoz (Acroe, Grenoble, France)
Recorded on March 23 and 2023 [...]
On mapping as a technoscientific practice in digital musical instruments
This article provides historical context for the emergence of ‘mapping’ as a key conceptual metaphor in the context of digital musical instrument (DMI) design and use. In addition to a consideration of different technical implementations, we offer a critical assessment of the tendency to over-generalise mapping as a universal model for both building instruments and analysing them in retrospect. This reification of mapping as a design model, as we…
User experience with digital musical instruments: A transferable method for longitudinal evaluation
We present the development and demonstration of a transferable method for studying user experience (UX) with digital musical instruments (DMIs) over time. We introduce DMIs, music interaction, stakeholders, and observable experiential aspects of the user-instrument relationship (UIR), grounding the development of our method in theoretical frameworks from human–computer interaction and music technology. We discuss structured evaluation strategies …
Virtual Partners Improve Synchronization in Human−Machine Trios
The interplay between auditory and motor processes in sensorimotor synchronization is crucial for achieving a cohesive group performance, particularly in musical groups. This study addressed the impact of virtual partners on synchronization performance in human trios. With a novel methodology, the study utilized virtual partners driven by computational models to simulate real‐time synchronization with human participants. Trio synchronization with…
Music Technology and Sound Studies (13 works) · Computer Science (12 works) · Neuroscience and Music Perception (10 works) · Music and Audio Processing (9 works) · Musical (9 works) · Visual arts (8 works) · Art (7 works) · Artificial Intelligence (6 works) · Human–computer interaction (6 works) · Psychology (6 works)