Abstract
| Language | English |
|---|---|
| Title of host publication | Unknown Host Publication |
| Number of pages | 4 |
| Publication status | Published - 1 Jun 2015 |
| Event | New Interfaces for Musical Expression (NIME) 2015 - Louisiana State University, Baton Rouge, Louisiana, USA Duration: 1 Jun 2015 → … |
Conference
| Conference | New Interfaces for Musical Expression (NIME) 2015 |
|---|---|
| Period | 1/06/15 → … |
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Keywords
- Gesture
- embodied
- schemas
- mapping
- metaphor
- spatialization
- timbre
- feature
- tracking
Cite this
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Managing Musical Complexity with Embodied Metaphors. / Graham, Ricky; Bridges, Brian.
Unknown Host Publication. 2015.Research output: Chapter in Book/Report/Conference proceeding › Conference contribution
TY - GEN
T1 - Managing Musical Complexity with Embodied Metaphors
AU - Graham, Ricky
AU - Bridges, Brian
N1 - Reference text: [1] E. Bates. The Composition and Performance of Spatial Music. Ph.D. Thesis. University of Dublin, Trinity College, Dublin, 2010. [2] C. Brower. A Cognitive Theory of Musical Meaning. Journal of Music Theory, 44, 2, pp. 323–379, 2000. [3] C. Brower. Paradoxes of Pitch Space. Music Analysis, 27, pp. 51–106, 2008. [4] C. Cadoz and M. Wanderley. Gesture–Music. In: M. Wanderley, M. Battier. Trends in Gestural Control of Music. IRCAM, Paris, 2000. [5] M. Donnarumma, B. Caramiaux, and A. Tanaka. Muscular Interactions. In Proc. NIME Conference, pp. 128 – 131, Seoul, South Korea, 2013. [6] R. Graham and B. Bridges. Gesture and Embodied Metaphor in Spatial Music Performance Systems Design. In Proc. NIME Conference, pp. 581–584, Goldsmiths, London, 2014. [7] A. Hunt and R. Kirk. Mapping Strategies for Musical Performance. In: M.M. Wanderley and M. Battier. Trends in Gestural Control of Music. IRCAM, Paris, 2000. [8] M. Johnson. The Meaning of the Body: Aesthetics of Human Understanding. University of Chicago Press, Chicago, 2007. [9] G. Lakoff and M. Johnson. Metaphors We Live By. Chicago, University of Chicago Press, 1980. [10] F. Lerdahl. Tonal Pitch–space. Oxford University Press, Oxford, 2001. [11] F. Lerdahl and C. Krumhansl. Modeling Tonal Tension. Music Perception, 24, 4, pp. 329–366, 2007. [12] C. Reynolds. Flocks, Herds and Schools: A distributed behavioral model. SIGGRAPH, 21, 4, pp. 25–34, 1987. [13] J.C. Schacher. “The Body in Electronic Music Performance.” In Proc. Sound and Music Computing Conference, pp. 194–200, 2012. [14] J.C. Schacher, Daniel Bisig, and Philippe Kocher. The Map and the Flock: Emergence in Mapping with Swarm Algorithms. Computer Music Journal, 38:3, pp. 49–63, 2014. [15] D. Smalley. Spectromorphology: explaining sound– shapes. Organised Sound, 2, 2, pp. 107–126, 1997. [16] K. Wilkie, S. Holland, and P. Mulholland. Evaluating Musical Software Using Conceptual Metaphors. In Proc. BCS-HCI, Cambridge, United Kingdom, September, 2009. [17] K. Wilkie. S. Holland, and P. Mulholland. What Can the Language of Musicians Tell Us about Music Interaction Design? Computer Music Journal. Winter 2010, Vol. 34, No. 4, pp. 34–48, 2010.
PY - 2015/6/1
Y1 - 2015/6/1
N2 - This paper presents the ideas and mapping strategies behind a performance system (implemented in Pure Data) that uses a combination of motion tracking and feature extraction tools to manage complex multichannel audio materials for real-time music composition. The use of embodied metaphors within these mappings is seen as a means of managing the complexity of a musical performance across multiple modalities. In particular, we will investigate how these mapping strategies may facilitate the creation of performance systems whose accessibility and richness are enhanced by common integrating bases. A key focus for this work is the investigation of the embodied image schema theories of Lakoff and Johnson alongside similarly embodied metaphorical models within Smalley’s influential theory of electroacoustic music (spectromorphology). These metaphors will be investigated for their use as grounding structural components and dynamics for creative practices and musical interaction design. We argue that pairing metaphorical models of forces with environmental forms may have particular significance for the design of complex mappings for digital music performance
AB - This paper presents the ideas and mapping strategies behind a performance system (implemented in Pure Data) that uses a combination of motion tracking and feature extraction tools to manage complex multichannel audio materials for real-time music composition. The use of embodied metaphors within these mappings is seen as a means of managing the complexity of a musical performance across multiple modalities. In particular, we will investigate how these mapping strategies may facilitate the creation of performance systems whose accessibility and richness are enhanced by common integrating bases. A key focus for this work is the investigation of the embodied image schema theories of Lakoff and Johnson alongside similarly embodied metaphorical models within Smalley’s influential theory of electroacoustic music (spectromorphology). These metaphors will be investigated for their use as grounding structural components and dynamics for creative practices and musical interaction design. We argue that pairing metaphorical models of forces with environmental forms may have particular significance for the design of complex mappings for digital music performance
KW - Gesture
KW - embodied
KW - schemas
KW - mapping
KW - metaphor
KW - spatialization
KW - timbre
KW - feature
KW - tracking
UR - http://www.nime.org
UR - http://www.nime.org
UR - https://pure.ulster.ac.uk/en/searchAll/index/?search=11484169&pageSize=25&showAdvanced=false&allConcepts=true&inferConcepts=true&searchBy=PartOfNameOrTitle
M3 - Conference contribution
BT - Unknown Host Publication
ER -