Takuto Fukuda

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Takuto Fukuda is a composer, sound artist and gestural controller performer exploring the intersection of human performance and computational technologies, evident in his various composition styles such as mixed music compositions that combine audiovisual content with human performers, gamified compositions that allow for real-time, interactive, and chance-based musical compositions, and music for gestural controllers. He has received several accolades at competitions such as the ICU International Composers Contest (Ukraine), Andrew Svoboda Memorial Prize (Canada) and ISMIR2020 (Canada), and has been selected for performance at numerous music festivals across the world such as ArsElectronica (Austria), ISCM World Music Days 2016 (Korea) and ICMCs (Slovenia, Greece, USA).
He gained his Doctor of Music in composition from McGill University and is currently an Assistant Professor in Electronic Music and Media Art at the University of Pécs.

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EMA: AN ANALYTICAL FRAMEWORK FOR THE IDENTIFICATION OF GAME ELEMENTS IN GAMIFIED SCREEN-SCORE WORKS

by Takuto Fukuda and Paul Turowski

TENOR, 2024

Gamified compositions-music involving game elements (e.g., avatars and life points)-have been boo... more Gamified compositions-music involving game elements (e.g., avatars and life points)-have been booming in the field of interactive computer music. However, only a few studies have addressed which game elements engender the sense of playfulness in performer-computer interactions in music. This gap may exist because existing analytical frameworks primarily focus on identifying game elements in consumer products rather than musical compositions. To address the lack of analytical frameworks for gamified musical works, this paper proposes the Expanded Motivational Affordances (EMA) model as an analytical framework for identifying game elements in gamified screenscore works. Through an analysis of Super Colliders by T. Fukuda and SQ2 by P. Turowski as case studies, this paper provides a comprehensive list of game elements and discusses what motivational needs for performers these elements satisfy. The EMA model with the resulting list of game elements aims to assist composers in gaining a better understanding of performer-computer interactions in gamified screen-score works. It enables composers to analyze and design such interactions more effectively in their future compositions, enhancing the overall experience for performers.

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T-Patch: a software application for T-Stick Digital Musical Instruments

In Proceedings of NIME 2023, 2023

This paper introduces the T-Patch, a software application that streamlines the use of T-Stick Dig... more This paper introduces the T-Patch, a software application that streamlines the use of T-Stick Digital Musical Instruments (DMIs). It offers a user-friendly interface for gesture extraction, mapping, signal conditioning, sound synthesis, and sequencing with cues, enabling composers to create music without programming, therefore lowering the entry fee associated with the use of the T-Stick. Our main contribution is twofold: (1) providing a versatile software solution to address the current lack of music-making support for T-Stick DMI, and (2) highlighting the importance of demonstration content, such as a video, to showcase the instrument's capabilities and inspire new users. The T-Patch provides an accessible and friendly way for using the T-Stick, while offering a shared software solution for various music-making scenarios.

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Pythagorean Domino

Pythagorean Domino is an improvisatory composition composed in 2019 for an augmented Theremin and... more Pythagorean Domino is an improvisatory composition composed in 2019 for an augmented Theremin and a gyro-based gestural controller. This work aims to integrate music concrete techniques and an algorithmic compositional approach in the context of composition for gestural controllers. While music concrete compositional practice brings out the concept of “composite object”—a sound object made up of several distinct and successive elements [1]—in the piece, our algorithmic compositional approach delivers an interpolation technique which entails gradual transformations of the composite objects over time. Our challenge is to perform a chain of short fragmental elements in tandem in the way to form a single musical unit, while the algorithms for transformation are autonomously changing synthetic and control parameter settings. This approach derives closely interconnected triangular interactions between two performers and a computer.

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Higher Order Gestalt Fromage

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Introduction of DIPS3 (version 2) for Max/MSP

DIPS (Digital Image Processing with Sound), was released publicly in 2000 in order to support the... more DIPS (Digital Image Processing with Sound), was released publicly in 2000 in order to support the creation of interactive multimedia art. However, while it realizes sophisticated real-time image processing in the Max/ MSP environment and quite effective interaction between sound and visual events the number of DIPS users have been limited because DIPS is based on OpenGL technology and users are required to know OpenGL programming technique. In this new version, 'DIPS3 version 2 for Max/MSP', while we introduce several new features we attempt to reduce the burden of DIPS programming task for ordinary creators.

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Expanding and Embedding a High-Level Gesture Vocabulary for Digital and Augmented Musical Instruments

This paper reports ongoing initiatives to explore how digital and augmented musical instruments g... more This paper reports ongoing initiatives to explore how digital and augmented musical instruments gestural vocabulary is developed over time, and how embedding the high-level gesture descriptors in those instruments can fomenting their use and contribute to their maturity toward established music instruments. The instruments included in this research are the T-Stick (Digital Musical Instrument), and the Gui-tarAMI (Augmented Music Instrument). Finally, we discuss present and future strategies for instrument longevity for the presented instruments.

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The T-Stick Music Creation Project: An approach to building a creative community around a DMI

To tackle digital musical instrument (DMI) longevity and the problem of the second performer, we ... more To tackle digital musical instrument (DMI) longevity and the problem of the second performer, we proposed the T-Stick Music Creation Project, a series of musical commissions along with workshops, mentorship, and technical support, meant to foment composition and performance using the T-Stick and provide an opportunity to improve technical and pedagogical support for the instrument. Based on the project's outcomes, we describe three main contributions: our approach; the artistic works produced; and analysis of these works demonstrating the T-Stick as actuator, modulator, and data provider.

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SUPER COLLIDERS: A GAMIFIED SCREEN-SCORE

This paper introduces Super Colliders (2018), a piece written for three pitched instruments and a... more This paper introduces Super Colliders (2018), a piece written for three pitched instruments and a computer. This piece applies gamification to the screen-score as a com-positional approach to achieve playful human-computer interactions. The piece features a game design that encompasses various game mechanics and elements. The paper describes the technical details of the game's design, the role and effects of the featured game elements from the perspective of motivational affordances. Finally, through the analysis of a performance of the piece, the paper reveals how motivational affordances in the screen-score supported to generate the musical structure through the playful performer-computer interactions.

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Introduction of DIPS3 (version 2) for Max/MSP

by Chikashi Miyama, Yota Morimoto, Takuto Fukuda, and Takayuki Rai

Applying interpolation algorithms for Multi-level transformations in a hierarchical compositional model

This thesis presents a means to realize Multi-level transformations in a hierarchical composition... more This thesis presents a means to realize Multi-level transformations in a hierarchical compositional model by applying interpolation algorithms. The final goal is to achieve giving a single strong impression, which may be expressed metaphorically in words. With this goal as a starting point, a further issue, that of keeping listener interests during a composition's rendition, will be dealt with. Employing hierarchical models for music composition are one possible approach for giving single strong impressions, and Multilevel transformations work as a means to achieve keeping listener interests. In order to realize them in practice, I apply interpolation algorithms on several levels of music such as passage, unit, phrase, motive and note. Finally, I will discuss, starting from my own metaphorical conceptions, the process of realizing concrete sounds for my compositions using the following:

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Takuto Fukuda

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