Call 2001
  • Jan 5, 2001 Submission deadline
  • Feb 2, 2001 Notification of acceptance
  • Mar 1, 2001 Submissions are published on the workshop web site
  • April 1, 2 Workshop, Post-workshop Event
The rapid evolution of digital media, advanced materials and other technologies is opening up unprecedented opportunities for musical interface inventors and designers. The possibilities afforded by these new technologies have prompted an explosion of new musical forms. Furthermore, they carry with them the challenges of a complex and often confusing array of choices for musical composers and performers. The design and evaluation of alternative musical controllers, currently the leading edge of an ongoing dialogue between technology and musical culture, involve many of the issues normally covered at CHI conferences. This workshop will explore the impact of new interface technologies on musical expression and exploration, discuss practical concerns involved in the design of effective musical interfaces, and attempt to identify major issues involved in the interplay between technological change and innovation in musical culture.
The workshop organizing committee invites original submissions on topics related to new musical controllers including, but not restricted to:
  • Design reports: novel controllers and interfaces for musical expression
  • Surveys of past work and/or stimulating ideas for future research
  • Performance Experience reports: Live performance and composition using novel controllers
  • Controllers for novices, education and entertainment
  • Perceptual & cognitive issues in the design of musical controllers
  • Novel controllers for collaborative performance
  • Interface protocols, MIDI and alternative controllers
  • Artistic, cultural, and social impact of new musical interfaces
The workshop will consist of a highly interactive one and one half-day long forum to encourage open dialogue between participants. All accepted position statements will be posted on the workshop web site in advance and workshop attendees are encouraged to get familiar with them before the workshop. During the workshop, all participants will be allocated 15-20 minutes to make a short presentation of their paper with following Q&A. Use of videos and audio as well as live demos of controllers is highly encouraged. The round table discussions will be organized on the second day and all workshop participants will be invited to provide their view on a number of topics. All workshop attendees are invited for a half-day planned post-workshop demo/performance event. Everyone will be welcome to demo their work and there will also be a program of musical performances. Details of the post-workshop venue and format will be made available at a later date. Inquiries from musicians using alternative controller technology who wish to demo or perform at the post-workshop event, but who do not wish to submit a paper to the workshop, are also welcome.
Workshop participants are asked to submit either a short paper summarizing their own work or a position statement giving a review of a body of work with suggestions for future work. Submissions will be reviewed by the program committee and selected on the basis of quality.
Only electronic submissions in PDF format will be considered. Papers should be a maximum of 4 pages in length and use the CHI conference proceedings format which can be found at:
The additional materials (audio and video) are also encouraged and should be published on the web with links included in the submission.
Authors planning to submit a paper are encouraged to send it to the workshop organizers as soon as possible.
After the workshop, all authors will be invited to submit extended versions of their manuscript for a second round of review, for inclusion in a special journal issue on novel musical interfaces (TBA). A report from the Workshop summarizing the workshop activities will also be submitted and published in the CHI Bulletin.
  • Krystyna Bobrowski, College of San Mateo Electronic Music Program
  • Perry Cook, Computer Science, Princeton
  • Reek N. Havok, Experience Music Project
  • Kenji Mase, ATR MIC Labs
  • Kaffe Matthews, Live Convertor, Annette Works
  • Max Matthews, CCRMA, Stanford
  • Joe Paradiso, MIT Media Lab
  • Andy Schloss, School of Music, University of Victoria
  • Laetitia Sonami, Performer/instrument builder
  • Bill Verplank, CCRMA, Stanford
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