scispace - formally typeset
Search or ask a question
Author

Gil Weinberg

Bio: Gil Weinberg is an academic researcher. The author has contributed to research in topics: Musical. The author has an hindex of 1, co-authored 1 publications receiving 28 citations.
Topics: Musical

Papers
More filters
Dissertation
01 Jan 1999
TL;DR: Machover et al. as mentioned in this paper proposed a set of digital musical instruments that were developed in an effort to provide children with new tools for interaction, exploration, and enjoyment of music.
Abstract: This thesis proposes to use technology to introduce children to musical expressivity and creativity. It describes a set of digital musical instruments that were developed in an effort to provide children with new tools for interaction, exploration and enjoyment of music. The thesis unfolds a multidisciplinary theoretical background, which reviews a number of philosophical, psychological, musical, and technological theories. The theoretical background focuses on enlightening a number of personal musical experiences and leads towards the formulation of three musical concepts that inform the design of the digital musical instruments. The musical concepts are: High and Low-level Musical Control, Immersive and Constructive Musical Experiences and Interdependent Group Playing. The thesis presents the embodiment of these concepts in digital musical instruments while emphasizing the importance of novel technology as a provider of creative and expressive musical experiences for children. Thesis Supervisor: Tod Machover Associate Professor of Music and Media

28 citations


Cited by
More filters
Journal ArticleDOI
TL;DR: The problem of creativity is examined and situations in the universe where it exists are examined to show the importance of creativity.
Abstract: Discusses the problem of creativity and examines situations in the universe where it exists.

351 citations

01 Jan 1998

264 citations

Proceedings Article
22 May 2003
TL;DR: This paper introduces Block Jam, a Tangible User Interface that controls a dynamic polyrhythmic sequencer using 26 physical artifacts, and demonstrates that it has created both a tangible and visual language that enables both the novice and musically trained users by taking advantage of both their explorative and intuitive abilities.
Abstract: In this paper, we introduce Block Jam, a Tangible User Interface that controls a dynamic polyrhythmic sequencer using 26 physical artifacts, These physical artifacts. that we call blocks, are a new type of input device for manipulating an interactive music system. The blocks' functional and topological statuses are tightly coupled to an ad hoc sequencer, interpreting the user's arrangement of the blocks as meaningful musical phrases and structures.We demonstrate that we have created both a tangible and visual language that enables both the novice and musically trained users by taking advantage of both their explorative and intuitive abilities. The tangible nature of the blocks and the intuitive interface promotes face-to-face collaboration and social interaction within a single system. The principle of collaboration is further extended by linking two Block Jam systems together to create a network.We discuss our project vision, design rational, related works, and the implementation of Block Jam prototypes.

112 citations

Book ChapterDOI
01 Jun 2004
TL;DR: The PebbleBox and the CrumbleBag are examples of a granular interaction paradigm, in which the manipulation of physical grains of arbitrary material becomes the basis for interacting with granular sound synthesis models.
Abstract: The PebbleBox and the CrumbleBag are examples of a granular interaction paradigm, in which the manipulation of physical grains of arbitrary material becomes the basis for interacting with granular sound synthesis models. The sounds made by the grains as they are manipulated are analysed, and parameters such as grain rate, grain amplitude and grain density are extracted. These parameters are then used to control the granulation of arbitrary sound samples in real time. In this way, a direct link is made between the haptic sensation of interacting with grains and the control of granular sounds.

76 citations

Journal ArticleDOI
TL;DR: In this paper, the authors describe an observation study of children aged 3-5 years confronting a particular interactive musical system, the Continuator, which is able to produce music in the same style as a human playing the keyboard.
Abstract: The relationship between new technology and learning is gaining increasing relevance in the field of music education (Webster, 2002; Folkestad et al., 1998). However, only a few studies have considered the nature of the interaction between children and musical machines. This article describes an observation study of children aged 3–5 years confronting a particular interactive musical system, the Continuator, which is able to produce music in the same style as a human playing the keyboard (Pachet, 2003). The analysis of two case studies suggests that the Continuator is able to develop interesting child/machine interactions and creative musical processes in young children. It was possible to observe a ‘life cycle’ of interaction, as well as micro-processes similar to those observed in child/adult interactions (Stern, 1985; Imberty, 2002). The ability of the system to attract and hold the attention of children has been interpreted through Csikszentmihalyi's (1990) ‘flow theory’.

66 citations