The goal of our research is to provide harpists with the tools to control and transform the sounds of their instrument in a natural and musical way. We consider the development of music with live electronics, with particular reference to the harp repertoire, and include interviews with six harpists that use technology in their professional performance practice. We then present HarpCI, a case study that explores how gestures can be used to control and transform sound and light projection in live performance with the electric harp. HarpCI draws on research from the areas Human Computer Interaction (HCI) and Music Interaction Design (MiXD) to extend the creative possibilities available to the performer, and demonstrates our approach to bridging the gap between the performer/composer and the harp on one side, and the technology on the other. We discuss the use of guitar pedals with the electric harp, and the limitations they impose, and then introduce the MyoSpat system as a potential solution to this issue. MyoSpat aims to give musicians control over auditory and visual aspects of the performance through easy to learn, intuitive and natural hand gestures. It also aims to enhance the compositional process for instrument and live electronics, through a new way of music notation for gesturally controlled interactive systems. The system uses the Myo® armband gestural controller, a device to control live sound processing that is non-invasive to instrumental technique and performer. The combination of these elements allows the performer to experience a tangible connection between gesture and sound production. Finally, we describe the experience of Eleanor Turner, who composed and performed The Wood and the Water (Turner 2016) using MyoSpat, and we conclude by presenting the outcomes from HarpCI workshops delivered at Cardiff Metropolitan University for Camac Harp Weekend, Royal Birmingham Conservatoire’s Integra Lab and Southampton University.

中文翻译：

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HarpCI，使表演者能够在现场表演中控制和转换竖琴声音

我们研究的目标是为竖琴家提供工具，以自然和音乐的方式控制和转换乐器的声音。我们考虑了现场电子音乐的发展，特别是竖琴曲目，并包括对六位在专业演奏实践中使用技术的竖琴手的采访。然后我们介绍 HarpCI，这是一个案例研究，探索如何使用手势来控制和转换电动竖琴现场表演中的声光投射。HarpCI 借鉴了人机交互 (HCI) 和音乐交互设计 (MiXD) 领域的研究，以扩展表演者可用的创作可能性，并展示了我们在一侧弥合表演者/作曲家和竖琴之间差距的方法，和另一方面的技术。我们讨论了吉他踏板与电动竖琴的使用及其带来的限制，然后介绍了 MyoSpat 系统作为这个问题的潜在解决方案。MyoSpat 旨在让音乐家通过易于学习、直观和自然的手势来控制表演的听觉和视觉方面。它还旨在通过一种用于手势控制的交互系统的新音乐符号方式来增强乐器和现场电子设备的作曲过程。该系统使用 Myo® 臂带手势控制器，这是一种控制现场声音处理的设备，对乐器技术和表演者来说是非侵入性的。这些元素的组合使表演者能够体验手势和声音制作之间的切实联系。最后，我们描述一下埃莉诺·特纳的经历，