Managing Musical Complexity with Embodied Metaphors

Ricky Graham; Brian Bridges

Managing Musical Complexity with Embodied Metaphors

Research output: Chapter in Book/Report/Conference proceeding › Conference contribution

Abstract

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

Original language	English
Title of host publication	Unknown Host Publication
Publisher	Louisiana State University
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 → …

Keywords

Gesture
embodied
schemas
mapping
metaphor
spatialization
timbre
feature
tracking

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Profiles

Brian Bridges

bd.bridges@ulster.ac.uk

School of Arts & Humanities - Lecturer in Creative Arts/Creative Technology
Faculty of Arts, Humanities & Social Sciences - Lecturer

Person: Academic

Cite this

Graham, R., & Bridges, B. (2015). Managing Musical Complexity with Embodied Metaphors. In Unknown Host Publication Louisiana State University. https://nime2015.lsu.edu/proceedings/303/index.html

@inproceedings{87d6ca6785b1486f81d0b9bb11fdbe46,

title = "Managing Musical Complexity with Embodied Metaphors",

abstract = "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{\textquoteright}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",

keywords = "Gesture, embodied, schemas, mapping, metaphor, spatialization, timbre, feature, tracking",

author = "Ricky Graham and Brian Bridges",

note = "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.; New Interfaces for Musical Expression (NIME) 2015 ; Conference date: 01-06-2015",

year = "2015",

month = jun,

day = "1",

language = "English",

booktitle = "Unknown Host Publication",

publisher = "Louisiana State University",

address = "United States",

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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 - 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

PB - Louisiana State University

T2 - New Interfaces for Musical Expression (NIME) 2015

Y2 - 1 June 2015

ER -