Designing Digital Musical Instruments

Abstract

Important considerations for the design of a Digital Musical Instrument (DMI) arise at the intersection of the disciplines of New Musical Interface design (NMI), Human-computer Interaction (HCI), and Interaction Design (IxD). A review of existing research indicates that the ‘success’ of a DMI requires a consideration and support of the experience expectations of three different stakeholders: the musician, the ensemble and the audience within the contexts of composition and performance. Additionally, there is recognition that the instrument also participates in the relationships that arise in composition and performance. DMIs, therefore, stretch NMI, HCI, and IxD into the domains of creative practice and performance. Whilst it is commonly understood by the disciplines of NMI, HCI and IxD that experience has a strong relationship with the more commonly recognized aspects of user experience (UX) such as usability, an understanding of the other humanistic aspects of experience needs further exploration. Many challenges and questions have arisen around the design of DMIs and the considerations that are relevant. This research explores the specific needs of the digital musician and relationships that arise between the composer, digital musician, the DMI, and the audience. The starting point for this research is the DMI Soundscape – a large-scale touch-based interface made of fabric and sensors that provides the opportunity for digital musicians to play and compose music while also providing additional mechanisms to support expression during performance. The research approach of this project is informed by the philosophies of participatory design and research through design. It also takes an ecological view of the relationships that arise between composer, digital musician, DMI and audience that has strong alignments with third-wave HCI considerations as elements of experience. The involvement of musicians as integral to the design process of a new DMI with the stated goal of public performance is aimed at bringing into greater relief the nature of the ecological relationships and the musician's needs within that ecology.