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This problem has been studied by Keller and Rubinow [16] and the construction of finding these paths on a circular membrane is depicted in figure 10.

Figure 10 This problem has been studied by Keller and Rubinow [16] and the construction of finding these paths on a circular membrane is depicted in figure 10.

Related Figures (11)

Figure 1. Picture showing North Indian Tabla. The Bayan is the silver drum on the left. The Dahina is the wooden drum on the right. Figure 1. Picture showing North Indian Tabla. The Bayan is the silver drum on the left. The Dahina is the wooden drum on the right. Electronic Tabla, Indian Drum Controller, Physica! Models, Graphical Feedback
Figure 1. Picture showing North Indian Tabla. The Bayan is the silver drum on the left. The Dahina is the wooden drum on the right. Figure 1. Picture showing North Indian Tabla. The Bayan is the silver drum on the left. The Dahina is the wooden drum on the right. Electronic Tabla, Indian Drum Controller, Physica! Models, Graphical Feedback
Figure 2. Picture showing a Mridangam, a drum of the Pakhawaj family. There are a few accounts for the origin of the Tabla. A mythological account reads: “Once, a long time ago, during the transitional period between two Ages... peo- ple took to uncivilized ways ... ruled by lust and greed [as they] behaved in angry and jealous ways, [while] demons, [and] evil spirits... swarmed the earth. Seeing this plight, Indra (The Hindu God of thunder and storms) and other Gods approached God Brahma (God of creation) and requested him to give the people a Krindaniyaka (toy) ... which could not only be seen, but heard, ... [to create] a diversion, so that people would give up their bad ways.” [1] One of the Krindaniyakas, which Brahma gave to humans was the Tabla. Other legends state that the Tabla was created in the 18" Cen- tury by Sidhar Khan Dhari, a famous Pakhawaj player.
Figure 2. Picture showing a Mridangam, a drum of the Pakhawaj family. There are a few accounts for the origin of the Tabla. A mythological account reads: “Once, a long time ago, during the transitional period between two Ages... peo- ple took to uncivilized ways ... ruled by lust and greed [as they] behaved in angry and jealous ways, [while] demons, [and] evil spirits... swarmed the earth. Seeing this plight, Indra (The Hindu God of thunder and storms) and other Gods approached God Brahma (God of creation) and requested him to give the people a Krindaniyaka (toy) ... which could not only be seen, but heard, ... [to create] a diversion, so that people would give up their bad ways.” [1] One of the Krindaniyakas, which Brahma gave to humans was the Tabla. Other legends state that the Tabla was created in the 18" Cen- tury by Sidhar Khan Dhari, a famous Pakhawaj player.
It is important to understand the traditional playing style of the Tabla to see how our controller models its hand movement. Below is a picture explaining the names of the different parts of the Tabla pudi (drum head).
It is important to understand the traditional playing style of the Tabla to see how our controller models its hand movement. Below is a picture explaining the names of the different parts of the Tabla pudi (drum head).
Figure 4. Pictures showing traditional strokes played on Bayan
Figure 4. Pictures showing traditional strokes played on Bayan
down between the syahi and the maidan. The index fin- ger now strikes the chat, quickly releasing to let it reso- nate. The index finger strike on the chat is further away from the pinky and ring finger, than it is on the Na stroke. Tira is a combination of two strokes on the Dahina, which explains the two syllables of the stroke. It is executed by shifting the entire right hand from one side of the drum to the other. It creates a damped sound at each strike. This stroke is shown in Figure 5 (f) and Figure 5 (g).
down between the syahi and the maidan. The index fin- ger now strikes the chat, quickly releasing to let it reso- nate. The index finger strike on the chat is further away from the pinky and ring finger, than it is on the Na stroke. Tira is a combination of two strokes on the Dahina, which explains the two syllables of the stroke. It is executed by shifting the entire right hand from one side of the drum to the other. It creates a damped sound at each strike. This stroke is shown in Figure 5 (f) and Figure 5 (g).
To implement the Dahina Controller, we used four FSRs: two long FSRs, one square FSR, and one small FSR (which acts like a square FSR). Figure 7 shows a layout of these FSRs. The small FSR triggers a Tit stroke event. It measures the velocity of the index fin- ger’s strike. The square FSR triggers a Tira stroke event. It measures the velocity of the hand slapping the top of the drum. If the Tira FSR is struck, all other FSRs Figure 8. The Electronic Tabla Controller
To implement the Dahina Controller, we used four FSRs: two long FSRs, one square FSR, and one small FSR (which acts like a square FSR). Figure 7 shows a layout of these FSRs. The small FSR triggers a Tit stroke event. It measures the velocity of the index fin- ger’s strike. The square FSR triggers a Tira stroke event. It measures the velocity of the hand slapping the top of the drum. If the Tira FSR is struck, all other FSRs Figure 8. The Electronic Tabla Controller
Figure 6. Picture showing Bayan controller FSR layout
Figure 6. Picture showing Bayan controller FSR layout
Figure 7. Picture showing Dahina controller FSR layout
Figure 7. Picture showing Dahina controller FSR layout
Figure 9. Figure showing banded waveguide schematic. Banded waveguides are a generalization of digital waveguide filters [smith] which accommodate complex material behavior and higher dimensions by modeling the traveling waves for each model frequency separately
Figure 9. Figure showing banded waveguide schematic. Banded waveguides are a generalization of digital waveguide filters [smith] which accommodate complex material behavior and higher dimensions by modeling the traveling waves for each model frequency separately
Figure 11. Sonograms comparing recorded (left) and simulated (right) Ga strike. Tabla strokes correspond to feeding strike-velocities at the right positions into the delay-lines. A particularly interesting performance stroke is the Ga stroke per- formed on the Bayan depicted in figure 4 (c). It includes a pitch bend that is achieved by modifying the vibrating area due to pushing forward. This can be viewed as a moving boundary, which in case of banded waveguide corresponds to a shortening of the closed wavepaths, in turn corresponding to a shortening of the delay-lines of the model. A comparison of a recorded and a simulated Ga stroke can be seen in figure 11.
Figure 11. Sonograms comparing recorded (left) and simulated (right) Ga strike. Tabla strokes correspond to feeding strike-velocities at the right positions into the delay-lines. A particularly interesting performance stroke is the Ga stroke per- formed on the Bayan depicted in figure 4 (c). It includes a pitch bend that is achieved by modifying the vibrating area due to pushing forward. This can be viewed as a moving boundary, which in case of banded waveguide corresponds to a shortening of the closed wavepaths, in turn corresponding to a shortening of the delay-lines of the model. A comparison of a recorded and a simulated Ga stroke can be seen in figure 11.
Figure 12. Different modes of visual feedback. Once particles have been placed, their continuing mo- tion is controlled by a vector field which imposes forces on each particle. After a strike places a form on the screen, the form will break apart and returns to the background motion. The vector field can also be con- figured to respond to the movement and positions of particles. The behavior of the field is governed by a distribution of ‘cells’ which determine the forces that will be exerted in their local area, based on the number and distribution of particles in their domain. Through this feedback of cell-particle dynamics, we obtain be- haviors which can mimic real-world systems. By alter- ing both the physical characteristics of particles and the specifics of cell-response behaviors, we can use the same system to produce a variety of effects (see Figure 12)
Figure 12. Different modes of visual feedback. Once particles have been placed, their continuing mo- tion is controlled by a vector field which imposes forces on each particle. After a strike places a form on the screen, the form will break apart and returns to the background motion. The vector field can also be con- figured to respond to the movement and positions of particles. The behavior of the field is governed by a distribution of ‘cells’ which determine the forces that will be exerted in their local area, based on the number and distribution of particles in their domain. Through this feedback of cell-particle dynamics, we obtain be- haviors which can mimic real-world systems. By alter- ing both the physical characteristics of particles and the specifics of cell-response behaviors, we can use the same system to produce a variety of effects (see Figure 12)
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