Response form for 597B: 10/9/2012 (Hunt & Wanderley)
This is the response form for A. Hunt and M. M. Wanderley. "Mapping performer parameters to synthesis engines." Organised Sound, 7(2):97–108, 2002.
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Please summarize the paper (~1 paragraph) *
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Based on this paper, what are the qualities of a DMI that Hunt and Wanderley might argue are necessary for it to be a "good" one? *
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How might using Hunt & Wanderley's model of a DMI as a mapping (or sequence of mappings) from input parameters to synthesis parameters be useful to instrument designers, performers, and/or researchers? Conversely, what might be problematic or oversimplified in this view of what an instrument is? *
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Optional: Personal response
What did you think of the paper? Was it useful, interesting, well-written, surprising, none of the above, etc.?
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Any other thoughts/questions/comments you'd like to share? (If you have a question for which you would definitely like an answer, please post it to Piazza as well!)
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Please suggest at least one discussion question for this paper for the benefit your Esteemed Discussion Leader. *
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