Study in three phases is an adaptive site-specific sound installation that includes 22 solenoids placed on metallic arches that surround visitors and react to environmental perturbations, creating a self-regulating soundscape of metallic hits that serves to renew the visitors' acoustic perspective. Adaptivity is a crucial aspect of the work: Similar perturbations will not generally cause similar reactions from the installation based on past interactions, thus allowing evolution over time to play a key role artistically and technically. This article discusses the author's position on adaptivity in music interaction and composition and reports on the technical and artistic aspects of the installation.

This paper introduces SuperOM, a class built for the software SuperCollider in order to create a bridge to OpenMu- sic and thus facilitate the creation of musical scores from SuperCollider patches. SuperOM is primarily intended to be used as a tool for SuperCollider users who make use of assisted composition techniques and want the output of such processes to be captured through automatic notation transcription. This paper first presents an overview of existing transcription tools for SuperCollider, followed by a detailed description of SuperOM and its implementation, as well as examples of how it can be used in practice. Finally, a case study in which the transcription tool was used as an assistive composition tool to generate the score of a sonification – which later was turned into a piano piece – is discussed. 

Software is intangible, invisible, and at the same time pervasive in everyday devices, activities, and services accompanying our life. Therefore, citizens hardly realize its complexity, power, and impact in many aspects of their daily life. In this study, we report on one experiment that aims at letting citizens make sense of software presence and activity in their everyday lives, through sound: the invisible complexity of the processes involved in the shutdown of a personal computer. We used sonification to map information embedded in software events into the sound domain. The software events involved in a shutdown have names related to the physical world and its actions: write events (information is saved into digital memories), kill events (running processes are terminated), and exit events (running programs are exited). The research study presented in this article has a "double character. " It is an artistic realization that develops specific aesthetic choices, and it has also pedagogical purposes informing the causal listener about the complexity of software behavior. Two different sound design strategies have been applied: one strategy is influenced by the sonic characteristics of the Glitch music scene, which makes deliberate use of glitch-based sound materials, distortions, aliasing, quantization noise, and all the "failures " of digital technologies; and a second strategy based on the sound samples of a subcontrabass Paetzold recorder, an unusual and special acoustic instrument which unique sound has been investigated in the contemporary art music scene. Analysis of quantitative ratings and qualitative comments of 37 participants revealed that the sound design strategies succeeded in communicating the nature of the computer processes. Participants also showed in general an appreciation of the aesthetics of the peculiar sound models used in this study.

Research on Accessible Digital Musical Instruments (ADMIs) has highlighted the need for participatory design methods, i.e., to actively include users as co-designers and informants in the design process. However, very little work has explored how pre-verbal children with Profound and Multiple Disabilities (PMLD) can be involved in such processes. In this paper, we apply in-depth qualitative and mixed methodologies in a case study with four students with PMLD. Using Participatory Design with Proxies (PDwP), we assess how these students can be involved in the customization and evaluation of the design of a multisensory music experience intended for a large-scale ADMI. Results from an experiment focused on communication of musical haptics highlighted the diversity in employed interaction strategies used by the children, accessibility limitations of the current multisensory experience design, and the importance of using a multifaceted variety of qualitative and quantitative methods to arrive at more informed conclusions when applying a design with proxies methodology.