Prototype n.6

Prototype n.13


In the search for the unification of music practice and creativity, I design a cello format based on important values of the XXI century, such as Shareability, Customization, Autonomy and Integration.  I use this tool to discover a new way of practicing music and redefining musicianship. For its evaluation, I test its 2021 release producing artworks involving collaborators and interactive concerts. This is a transdisciplinary case study between instrument design, composition and performance.

Key words:

Supported by: 

ifactory  Reflow  Stimueliring Fonds Industrie De Zaaier Stichting

practice  performance  research  innovation  music industry  composition education  Interactive performances  instrument design  music production

Hybrid instrument  social & innovative music practice



Knurl, a 'cello' with 16 strings, is a shift into exploring the potential of hybrid instruments (acoustic-electronic) to be enhanced through built-in electronic components, as well as the potential for music to be a shared endeavour between performers, global audiences and its presentation contexts. With Knurl, Rafaele  is able to be both a composer and performer, and can discover the boundaries of music creation using a diverse range of compositional methods. 



Rafaele Andrade [Brazil, 1994] is a music pioneer in the field of applied experimental music. With a background in Conducting, Composition, Production, Cello, live coding and Sonology, she develops artworks merging these crossovers into innovative practices with the technology, Yoga, social inclusion, sustainability & fair music distribution. Rafaele has a passion for social initiatives, producing during her young career an orchestra of Brazilian music at 17 years old and at 22, curating a UNESCO project to promote Latin American women composers (Rádio Delas). She is a member of NLCL(Netherlands), iii (Netherlands) and CIM (Brazil) and the creator of Knurl, a reconfiguration of a classic/baroque cello format into an interactive interface that share control of the artistic experience between audience and performer.

Redefining musicianship by new practices 



Embracing personal limitations

This project explores how digital (fabrication) technologies and live coding can expand the experience of (classical) instrumental concerts for performers as well as the audience.In addition, the project aims to share knowledge about creating new experimental electroacoustic instruments in a sustainable way. An open investigation format of collaborative R&D, try-outs and concerts is a means of exploring the digital limitations of music-making, and uncovering solutions for some of technical barriers that composers and performers face today by the application of digital tools.

For the future of music practice

 My motivation for exploring interactivity inside an instrument is to erase the borders between audience and listener. In my own belief, sharing the power of artistic expression between the audience does not only reinvent an old system of music production, where only the artist is allowed to say something, it is also an empowerful experience for the audience to be listened to.

Prototype n.21

Prototype n.28



  [1] Magnusson, Thor . Sonic Writing: writing technologies of material, symbolic and signal inscription. New York: Bloomsbury academy, 2019. 

[2] Caliman , Magno. Mediation and "object specific" creative processes in experimental live coding. Presentation available at: Accessed at: 28-07-2020. Documented at:

Prototype n.39

Prototype n.34

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