Bowed string music has always existed as an aural culture with improvisation considered as a prime focus of expression. It is the author's strong belief that experimentation is the natural state of all string music. This paper concentrates on recent history: bows that have incorporated interactive sensor technology. The central narrative deals with the author's own experiments and experience at STEIM since 1987. How reliable and practical is this technology? Are the results worth the trouble? Are there new modes of improvising only possible with an interactive bow?
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