The integration of cultural heritage into Digital Musical

The gap

Evidence profile

Stated in the future work and cells research gap sections of the source papers, classified as general, all from Zenodo (CERN European Organization for Nuclear Research).

Supporting evidence — 4 representative gaps

• Shared Agency through Collaborative Trajectory Editing in Immersive Audio (2026) · Zenodo (CERN European Organization for Nuclear Research) · doi

  This paper presented WeSp, a browser-based interface for collaborative trajectory-based spatialization. A group user study with music experts examined its potential for shared interaction, combining quantitative measures with qualitative analysis. The results indicate that WeSp supports collaborative engagement through a low barrier to entry, shared visual representations, and the emergence of interaction strategies grounded in musical practice. At the same time, challenges related to multimodal cognitive load and coordination highlight areas for further 12345ConnectedSonic EffectsPlan EventsCreative Process Control Challenging FeedbackLiked SpatializationSIDQ_QuestionSIDQ_ResponseTABLET/LAPTOPTabletLaptopShared Agency through Collaborative Trajectory Editing in Immersive Audio NIME ’26, June 23–26, 2026, London, UK Conference on New Interfaces for Musical Expression (NIME11). https://doi.org/ 10.5281/ZENODO.1178053 Sergi Jordà, Günter Geiger, Marcos Alonso, and Martin Kaltenbrunner. 2007. The reacTable: exploring the synergy between live music performance and tabletop tangible interfaces. In Proceedings of the 1st international conference on Tangible and embedded interaction (TEI ’07). Association for Computing Machinery, New York, NY, USA, 139–146. https://doi.org/10.1145/1226969.12 26998 Bettina Laugwitz, Theo Held, and Martin Schrepp. 2008. Construction and Evaluation of a User Experience Questionnaire. USAB 2008 5298, 63–76. https://doi.org/10.1007/978-3-540-89350-9_6 G. Marentakis and S. Mcadams. 2013. Perceptual impact of gesture control of spatialization. ACM Trans. Appl. Percept. 10, 4, Article 22 (oct 2013), 21 pages. https://doi.org/10.1145/2536764.2536769 Justin Mathew, Stéphane Huot, and Brian Katz. 2017. Survey and implications for the design of new 3D audio production and authoring tools. Journal on Multimodal User Interfaces 11 (April 2017). https://doi.org/10.1007/s12193- 017-0245-z Liang Men and Nick Bryan-Kinns. 2019. LeMo: Exploring Virtual Space for Collaborative Creativity. In Proceedings of the 2019 Conference on Creativity and Cognition (C&C ’19). Association for Computing Machinery, New York, NY, USA, 71–82. https://doi.org/10.1145/3325480.3325495 Nils Peters, Georgios Marentakis, and Stephen Mcadams. 2011. Current Technologies and Compositional Practices for Spatialization: A Qualitative and Quantitative Analysis. Computer Music Journal 35 (March 2011), 10–27. https://doi.org/10.1162/COMJ_a_00037 Federico Schumacher, Vicente Espinoza, Francisca Mardones, Rodrigo Vergara, Alberto Aránguiz, and Valentina Aguilera. 2021. Perceptual Recognition of Sound Trajectories in Space. Computer Music Journal 45, 1 (March 2021), 39–54. https://doi.org/10.1162/comj_a_00593 Hyunkyung Shin and Henrik von Coler. 2024. Arcube: Hybrid spatial interaction for immersive audio. In Proceedings of the 2024 ACM Symposium on Spatial User Interaction. 1–3.

  generalstated in future workevidence 5/5
  Keywords: https user music interaction spatialization shared collaborative audio conference interfaces proceedings journal wesp based trajectory
• The Readymade Synth: Prepared Synthesis with Everyday Objects (2026) · Zenodo (CERN European Organization for Nuclear Research) · doi

  The Readymade Synth transforms unmodified arbitrary objects into sound sources through Prepared Synthesis informed by spec- tral shape analysis, which can be situated as an extension of the conceptual art tradition of prepared instruments. By separating precise control (keyboard) from exploratory control (objects), the instrument balances repeatability with discovery. Our compo- sitional exploration with a professional musician demonstrated that object choice becomes a compositional act, capture timing emerges as a performative gesture, and material dramaturgy structures musical form. In addition, our approach offers a trans- ferable design pattern for negotiating precision and openness in tangible musical interfaces. Beyond the technical transformation lies a deeper contribution: the performer’s choice of objects, whether a plastic gear, a thread, or a fallen leaf, carries material associations into the sonic domain. Where Cage’s prepared piano concealed its preparations inside the instrument body, ours sit visibly on the sensing surface, so the audience can read the gesture-to-sound link alongside the performer. In this sense, Prepared Synthesis extends the prepared piano’s central insight: that what we place inside an instrument defines not only its sound but also suggests its meaning. In future work, we plan to produce a fully self-contained unit around an embedded computer to simplify stage setup. In parallel, we plan to expose the OSC (analytical spectral data) and MIDI streams for connection to external systems (e.g., DAWs, modu- lar synths). We also plan to further explore additional synthesis paradigms, for instance, subtractive and FM synthesis driven by spectral ratios, and physical modelling through banks of res- onators.

  generalstated in future workevidence 5/5
  Keywords: prepared synthesis objects sound instrument plan control choice gesture material musical performer piano inside spectral
• Hypercuica: Augmenting and Performing with an Afro-Brazilian Friction Drum (2026) · Zenodo (CERN European Organization for Nuclear Research) · doi

  This paper has presented Hypercuíca as an augmented percus- sion instrument conceived for live electroacoustic improvisation, combining the physical practice of cuíca playing with real-time digital processing as an open-ended framework for artistic and technical exploration. Rather than proposing a radically new sens- ing technology, the project investigates how the augmentation of a culturally specific percussion instrument can generate new relationships between gesture, timbre, and embodiment across different performance contexts. The instrument was presented in performances and workshops, suggesting its potential as a tool for artistic inquiry and its capacity to extend the expressive possibilities of the cuíca beyond traditional contexts. Future work includes further developing the system’s map- pings and expanding its sonic variability through continued ex- perimentation. This includes exploring alternative gesture-to- sound relationships, as well as machine learning approaches ca- pable of identifying and mapping longer, more complex gesture trajectories, potentially introducing more dynamic and interac- tive modes of engagement with the instrument. The ongoing performance and dissemination of Hypercuíca will remain essen- tial to the project, allowing the instrument to continue evolving through real-world artistic contexts and inventive practices.

  generalstated in future workevidence 5/5
  Keywords: instrument artistic gesture contexts presented hypercu real project relationships performance includes augmented percus sion conceived
• Ehecatl: A Frugal Digital Wind Instrument Inspired by Aztec Cosmogony (2026) · Zenodo (CERN European Organization for Nuclear Research) · doi

  The integration of cultural heritage into Digital Musical Instrument design has prioritized visual aesthetics or ergonomic novelty, neglecting indigenous cosmogonies. - There is a need for accessible, culturally grounded musical interfaces that prioritize embodied interaction and somatic awareness.

  generalstated in cells research gapevidence 5/5
  Keywords: integration cultural heritage digital musical instrument design has

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