- List of Common Acronyms Found in the <i>Handbook</i>
- List of Software Found in the <i>Handbook</i>
- List of Games Found in the <i>Handbook</i>
- List of Contributors
- About the Companion Website
- Spatial Reconfiguration in Interactive Video Art
- Navigating Sound: Locative and Translocational Approaches to Interactive Audio
- Defining Sound Toys: Play as Composition
- Thinking More Dynamically about Using Sound to Enhance Learning from Instructional Technologies
- Acoustic Scenography and Interactive Audio: Sound Design for Built Environments
- The Unanswered Question of Musical Meaning: A Cross-domain Approach
- How Can Interactive Music be Used in Virtual Worlds Like <i>World of Warcraft</i>?
- Sound and the Videoludic Experience
- Designing a Game for Music: Integrated Design Approaches for Ludic Music and Interactivity
- Worlds of Music: Strategies for Creating Music-based Experiences in Videogames
- Embodied Virtual Acoustic Ecologies of Computer Games
- A Cognitive Approach to the Emotional Function of Game Sound
- The Sound of Being There: Presence and Interactive Audio in Immersive Virtual Reality
- Sonic Interactions in Multimodal Environments: An Overview
- Musical Interaction for Health Improvement
- Engagement, Immersion and Presence: The Role of Audio Interactivity in Location-aware Sound Design
- Multisensory Musicality in <i>Dance Central</i>
- Interactivity and Liveness in Electroacoustic Concert Music
- Skill in Interactive Digital Music Systems
- Gesture in the Design of Interactive Sound Models
- Virtual Musicians and Machine Learning
- Musical Behavior and Amergence in Technoetic and Media Arts
- Flow of Creative Interaction with Digital Music Notations
- Blurring Boundaries: Trends and Implications in Audio Production Software Developments
- Delivering Interactive Experiences through the Emotional Adaptation of Automatically Composed Music
- A Review of Interactive Sound in Computer Games: Can Sound Affect the Motoric Behavior of a Player?
- Interactive Spectral Processing of Musical Audio
- Let’s Mix it Up: Interviews Exploring the Practical and Technical Challenges of Interactive Mixing in Games
- Our Interactive Audio Future
- For the Love of Chiptune
- Procedural Audio Theory and Practice
- Live Electronic Preparation: Interactive Timbral Practice
- New Tools for Interactive Audio, and What Good they Do
Abstract and Keywords
Against a background of the broader phenomenon of skill, this chapter draws on research in psychology, interaction design, and music to build a multidimensional conception of skill within the context of music performance. The focus subsequently narrows on the particular challenges to the existence of skill and virtuosity in performance with interactive music systems. A framework emerges, in which the cognitive and sensorimotor dimensions of skill are socially constituted and environmentally situated in an ecosystem of performers, spectators, and technologies. In such a fragile and complex network, which may involve novel instruments, unfamiliar performance situations, and potentially conflicting or unmet expectations, the social construction of skill in interactive performance is subject to breakdown. The chapter argues that for skill to emerge, the design, presentation, and dissemination of interactive music systems must account for the various dimensions of skill and the entire ecosystem within which skilled performative interaction takes place.
Michael Gurevich is Assistant Professor of Performing Arts Technology at the University of Michigan, where he teaches media art, physical computing, and electronic chamber music. Framed through the interdisciplinary lens of Interaction Design, his research explores new aesthetic and interactional possibilities that emerge through performance with real-time computer systems. He holds a Ph.D. in computer music from Stanford, and has worked at the Sonic Arts Research Centre at Queen’s University Belfast, and Singapore’s Institute for Infocomm Research. He has published in the New Interfaces for Musical Expression, computer music and HCI communities, and served as Music Chair for NIME 2012.
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