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From Control to Co-Agency: Reframing Instrumentality through Sonic Traces in Augmented Musical Practice

By Mercedes Krapovickas and Jan Schacher

University of the Arts, Helsinki, Finland

Abstract

Contemporary practices with augmented and digitally mediated musical instruments increasingly question familiar ideas of control, mastery, and instrumental agency. In many such practices, agency is distributed across bodies, technical configurations, spaces, and temporal processes, reorienting instrumental design toward shared agency rather than a primary focus on parameter extension or mapping within a constrained digital domain. From this perspective, musical instruments can be understood less as interfaces to be controlled and more as entwined systems, relational ecologies shaped through listening, bodily awareness, and adaptive (inter-)action.

Grounded in artistic practice, this paper explores how subtle, non-dominant sonic phenomena can function as meaningful resources for interaction with an augmented acoustic instrument. Focusing on a solo bandoneon augmented through live electronics and machine learning, the work articulates the three interrelated concepts of peripheral sounds, gestural remains, and residual resonances that become perceptible through practice, amplification, and learning. Sounds arising from the instrument's materials, friction with the body and lingering resonances are approached not as side effects, but as sonic traces that orient listening and action.

Across the design and composition of a live-electronic ecosystem, a concert performance, and a performative sound installation, these subtle sounds operate as cues for action, shaping movement, timing, and decision-making for both performer and technical system. Attending to such phenomena leads to new gestural strategies, alternative modes of augmentation, and shifts in how listening is organised within performance situations. By reconsidering what counts as signal in augmented instruments that use machine-learning, this work contributes to NIME discussions on affordances, agency, and relational instrument design, foregrounding co-agency grounded in responsiveness and emergent behaviour.

Supplemental Material

1. Video Example of Close Microphone Capture of the Bandoneon's Dynamic Stereo Field

Close microphone placement preserves the bandoneon's dynamic stereo field, as sound from each side of the instrument continuously changes with bellows movement.

2. Example of Selected Sound Bank Sounds

Air Vibrato

Cluster Right Hand

Larger sound bank available at: extendedbandoneon.com/soundbank

3. Video and Audio examples of a Recording Session for Peripheral and Discarded Sounds

This video documents a recording session focused on peripheral and discarded sounds of the bandoneon: wood sounds, bellows, tapping on materials, mechanical sounds of the interior, pitched-air sounds and incidental bodily noises.

The footage is accelerated, and the sounds are intentionally subtle, almost imperceptible. The audio file shows curated sound samples from the same recording session, taken through the DPA 4099 Core microphones.

Recording Session Curated Sounds

Larger sound bank available at: extendedbandoneon.com/soundbank

4. Observed differences in how bandoneon sounds elicit stable and consistent responses
during training and interaction.

Sound TypeRecognisability (System)System Response
Air Sounds - LongMediumVariable
Air Sound - ShortHighConsistent
Air Sound - VibratoMediumVariable
Bellows Sounds - Percussive - Bellow Shake with Air SoundMediumUnstable
Single Button SoundHighConsistent
Buttons Sounds - TexturalHighConsistent
Tapping on wood casing with fingertipsHighVariable
Tapping on wood casing with fingernailsHighVariable
Friction of bellows and clothes - e.g. bellows and trousersMediumVariable
High Pitched Notes - LongMediumInconsistent
High Pitched Notes - ShortMediumVariable
Medium Pitched Notes - Long and ShortMediumInconsistent
Medium Pitched Notes - Long and ShortLowInconsistent
Clusters - Singled and Doubled HandedLowInconsistent

5. Neons & Neutrals Documentation

About

Neons & Neutrals is a solo performance for bandoneon and live electronics that explores the instrument's transformation through extended techniques, movement, and technology. The work engages with the bandoneon as an augmented instrument within a multichannel environment, examining how traditional instruments evolve through electronic interaction.

Neons & Neutrals – Practice Session (Bandoneon & Live Electronics) - Video Documentation

Place: Black Box, Helsinki Music Centre, Sibelius Academy, Finland

Date: 18.3.2025

Neons & Neutrals – Performance Excerpts (Bandoneon & Live Electronics) - Video Documentation

Place: Black Box, Helsinki Music Centre, Sibelius Academy, Finland

Date: 18.3.2025

6. Scratched Surfaces Documentation

About

Scratched Surfaces is a performative sound installation that explores the subtle sonic elements of the bandoneon. These sounds are diffused across an eight-channel system, eight speaker cones, and two guitar amplifiers, accompanied by a video projection on a tablet featuring footage drawn from the artist's practice. The work forms part of the doctoral research project Bandoneon Resonances.

Scratched Surfaces - Performative Intervention During Sound Installation - Video
Documentation

Place: Black Box, Helsinki Music Centre, Sibelius Academy, Finland

Date: 24.11.2025

More about Scratched Surfaces available at: https://mekrapov.com/scratched-surfaces