Abstract and Contents

• Abstract

Signature of Author___________________________________________
Program in Media Arts and Sciences
7 August 1998

Certified By________________________________________________
Tod Machover
Associate Professor of Music and Media
Program in Media Arts and Sciences

Accepted By________________________________________________
Stephen A. Benton
Chairperson, Department Committee on Graduate Students
Program in Media Arts and Sciences

Abstract

Electronic musical instruments are used in a wide variety of roles in the professional production and performance of all kinds of music. Moreover, they have great potential for use by non-professionals in the applications of interactive entertainment and music education. Despite the wide range of current and potential roles for these instruments, the range of interfaces commonly used to control them is quite narrow. Musical interfaces are usually limited to organ-style keyboards, buttons, knobs, and sliders. Since these interfaces can be intimidating and/or hard to learn, the investigation of alternate interfaces is particularly relevant for use by non-professionals. Even professionals who have taken the time to master traditional interfaces could benefit from the different modes of physical expression made possible by alternate interfaces.

Rather than confining ourselves to one of these traditional kinds of input interfaces for sounds and music, we are pursuing an ambitious dream from a radically new perspective. The ultimate goal of this thesis is to demonstrate that the everyday actions we do with our hands, such as squeezing and pulling, can be tapped and used for creating sounds and music. The control of this instrument is universal and perceptually meaningful for children of all ages in their quest for creativity.

This thesis describes a new class of interfaces, Squeezables, which can be used as an expressive input interface for controlling musical outputs in place of traditional interfaces usually found on electronic musical instruments. This thesis presents three major forms of the Squeezables developed. They are the cluster, the pole and the table. It also presents two related works, Musical Play Pen. and Digital Maracas. Issues addressed include selection of materials, selection of sensors, sensor placement, and mapping of sensor values for various musical applications. This thesis will also describe the evolution of the Squeezables, from the first version to the latest table version. Furthermore, this thesis will discuss the pros and cons of each version of Squeezables and howSqueezables may evolve in the future.

Thesis Supervisor: Tod Machover

Title: Associate Professor of Music and Media

The following people served as readers for this thesis:

Reader___________________________________________________
Hiroshi Ishii
Associate Professor of Media Arts and Sciences
Program in Media Arts and Sciences

Reader___________________________________________________
Michael Hawley
Assistant Professor of Media Arts and Sciences
Alex Dreyfoos Jr. (1954) Career Development Professor of Media Arts and Sciences
Program in Media Arts and Sciences

I would like to thank,

Tod Machover for being a constant source of inspiration. Most importantly, he has been my mentor for the last two years, giving advice and providing me with resources and encouragement to pursue my work.

Joseph Paradiso for being an excellent source of information about sensors, technology and technical advice.

Neil Gershenfeld, for his approval to use the workshop which made my work possible and for putting up with me in his laboratory.

Hiroshi Ishii, for supporting my work, reading my thesis and being an understanding person.

Michael Hawley, for supporting my work, reading my thesis, offering suggestions, and his excellent sense of humor.

Benjamin Denckla, for being an excellent English mentor and for his far-sighted suggestions.

Teresa Marrin, for being an understanding person and a constant source of emotional support.

Gil Weinberg, for being an extremely active and witty partner.

Chad Brustin, Maria Brennan, Joanne Broekhuizen, Charlotte Burgess, Maria Chen, Judith DeGraan, Andrew Fung, Danielle Guichard-Ashbrook, Kristin Hall, Milena Levak, Soh Min Lim, Linda Lowe, Steve Meyer, Linda Peterson, Bernard Tan, John Tan and Chon Meng Wong.

All members of the Opera of the Future Group.

All other people involved, one way or the other.

And most of all, my family, especially my two-year-old son, Cheng Hann, who "volunteered" to test the creations of his father.

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