Strategies for spatial music performance: the practicalities and aesthetics of responsive systems design

Ricky Graham, Brian Bridges

Research output: Contribution to journalArticle

Abstract

This article will explore practical and aesthetic questions concerning spatial music performance by interrogating new developments within an emerging hyperinstrumental practice. The performance system is based on an electric guitar with individuated audio outputs per string and multichannel loudspeaker array. A series of spatial music mapping strategies will explore in-kind relationships between a formal melodic syntax model and an ecological flocking simulator, exploiting broader notions of embodiment underpinning the metaphorical basis for the experience and understanding of musical structure. The extension and refinement of this system has been based on a combination of practice-led and theoretical developments. The resulting mapping strategies will forge new gestural narratives between physical and figurative gestural planes, culminating in a responsive, bodily based, and immersive spatial music performance practice. The operation of the performance system is discussed in relation to supporting audiovisual materials.
LanguageEnglish
JournalDivergencePress
Volume3
Issue numberDec 20
DOIs
Publication statusPublished - Dec 2014

Fingerprint

Music Performance
Aesthetics
Musical Structure
Figurative
Forge
Guitar
Syntax
Music
Performance Practice
Simulator
Embodiment
Strings
Physical

Keywords

  • spatial music
  • mapping
  • embodied cognition
  • hyperinstrument
  • gesture
  • aesthetics

Cite this

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title = "Strategies for spatial music performance: the practicalities and aesthetics of responsive systems design",
abstract = "This article will explore practical and aesthetic questions concerning spatial music performance by interrogating new developments within an emerging hyperinstrumental practice. The performance system is based on an electric guitar with individuated audio outputs per string and multichannel loudspeaker array. A series of spatial music mapping strategies will explore in-kind relationships between a formal melodic syntax model and an ecological flocking simulator, exploiting broader notions of embodiment underpinning the metaphorical basis for the experience and understanding of musical structure. The extension and refinement of this system has been based on a combination of practice-led and theoretical developments. The resulting mapping strategies will forge new gestural narratives between physical and figurative gestural planes, culminating in a responsive, bodily based, and immersive spatial music performance practice. The operation of the performance system is discussed in relation to supporting audiovisual materials.",
keywords = "spatial music, mapping, embodied cognition, hyperinstrument, gesture, aesthetics",
author = "Ricky Graham and Brian Bridges",
note = "Reference text: Bates, E. (2010) The Composition and Performance of Spatial Music. PhD, University of Dublin, Trinity College, Dublin. Bregman, A.S. (1990) Auditory Scene Analysis: The Perceptual Organization of Sound. Cambridge, Mass.: MIT Press. Brower, C. (2000) A Cognitive Theory of Musical Meaning. Journal of Music Theory, 44(2), pp. 323–379. DOI: 10.1215/00222909-44-2-323 Brower, C. (2008) Paradoxes of Pitch Space. Music Analysis, 27, pp. 51–106. DOI: 10.1111/j.1468-2249.2008.00268.x Cadoz, C. and Wanderley, M. (2000) Gesture-Music. In Wanderley, M. and Battier, M. (eds). Trends in Gestural Control of Music. Paris: IRCAM. pp. 72–94. Available at: http://www.music.mcgill.ca/~mwanderley/Trends/Trends_in_Gestural_Control_of_Music/ [Accessed 30/8/2014] Challinor, R. (2011) Synapse. Software application. Available at: http://synapsekinect.tumblr.com/ [Accessed 6/7/2014] Emmerson, S. (1994) Local/Field: towards a typology of live electroacoustic music. Proceedings of the International Computer Music Conference 1994. San Francisco: International Computer Music Association. pp. 31–34. Emmerson, S. (2007) Living Electronic Music. Aldershot: Ashgate. Erickson, R. (1975) Sound Structure in Music. Berkeley: University of California Press. Graham, R. (2010) The Effects of Polyphonic Technology on Electric Guitar Performance. Postgraduate Conference of the Society for Musicology in Ireland, Dublin Institute of Technology, January 2010. Available online at: https://www.academia.edu/1140419/The_Effects_of_Polyphonic_Technology_on_Electric_Guitar_Performance [Accessed 30/8/2014] Graham, R. (2012) Expansion of Electronic Guitar Performance Practice through the Application and Development of Interactive Digital Music Systems. PhD. University of Ulster, Northern Ireland. Graham, R. and Bridges, B. (2013) Mapping and Meaning: embodied metaphors and non-localised structures in performance system design. In: Re-New 2013 Conference Proceedings. Available online at: http://www.l--l.dk/downloadables/re-new_2013_conference_proceeding.pdf [Accessed 30/8/2014] Graham, R. and Bridges B. (2014) Gesture and Embodied Metaphor in Spatial Music Performance Systems Design. In: Caramiaux, B., Tahiroğlu, K., Fiebrink, R. and Tanaka, A. (eds) Proceedings of the International Conference on New Interfaces for Musical Expression 2014, Goldsmiths, University of London, July 2014, pp. 581–584. Available online at: http://nime2014.org/proceedings/NIME2014-Proceedings.pdf [Accessed 14/7/2014] Johnson, M. (1987) The Body in the Mind: The Bodily Basis of Meaning, Imagination and Reason. Chicago: University of Chicago Press. Johnson, M. (2007) The Meaning of the Body: Aesthetics of Human Understanding. Chicago: University of Chicago Press. Krumhansl, C. (1990) Cognitive Foundations of Musical Pitch. Oxford: Oxford University Press. Lakoff, G. (1987) Women, Fire, and Dangerous Things: What Categories Reveal About the Mind. Chicago: University of Chicago Press. Lakoff, G. and Johnson, M. (1980) Metaphors we Live By. Chicago: University of Chicago Press. Lerdahl, F. (2001) Tonal Pitch-Space. Oxford: Oxford University Press. Lerdahl, F., Krumhansl, C. (2007) Modeling Tonal Tension. Music Perception, 24(4), pp. 329–366. DOI: 10.1525/MP.2007.24.4.329 Levitin, D. J. (2002) Control parameters for musical instruments: a foundation for new mappings of gesture to sound. Organised Sound, 7(2), pp. 171–189. DOI: 10.1017/S135577180200208X Moritz, A. (2002) Stockhausen: Essays on the Works. [Online] Available at: http://home.earthlink.net/~almoritz/ [Accessed 14/7/2014] Reynolds, C. (1987) Flocks, Herds and Schools: A distributed behavioral model. SIGGRAPH Comput. Graph. 21(4), pp. 25–34. Singer, E. (1997) Boids for Max. Software library. Available at: http://ericsinger.com/cyclopsmax.html [Accessed 6/7/2014] Smalley, J. (2000) Gesang der J{\"u}nglinge: History and Analysis. In: Masterpieces of 20th-Century Electronic Music: A Multimedia Perspective [Online]. New York: Columbia University Computer Music Center. Available online at: www.music.columbia.edu/masterpieces/notes/stockhausen [Accessed 14/7/2014] Smalley, D. (2007) Space Form and the Acoustic Image. Organised Sound, 12(1), pp. 35–58. DOI: 10.1017/S1355771807001665 Solomon, J. (2007) Spatialization in Music: The analysis and interpretation of Spatial Gestures. PhD. University of Georgia, Athens, Georgia. Sterne, J. (2012) Sonic Imaginations. In: Sterne, J. (ed.) The Sound Studies Reader. Abingdon, Oxford: Routledge, pp. 1–18. Stockhausen, K. (1956) Gesang der J{\"u}nglinge. Electroacoustic composition. Available on: Stockhausen Edition 3. [Audio CD]. K{\"u}rten, Germany: Stockhausen Foundation for Music. Stockhausen, K. (1957) Gruppen. [Composition]. Available on Stockhausen Edition 5. [Audio CD]. K{\"u}rten, Germany: Stockhausen Foundation for Music. Stockhausen, K. (1975) Music in Space. (Trans. R. Koenig). die Reihe, 5, pp. 67–82. Wilkie, K., Holland, S., Mulholland, P. (2010) What Can the Language of Musicians Tell Us about Music Interaction Design? Computer Music Journal, 34(40), pp. 34–48. DOI: 10.1162/COMJ_a_00024",
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Strategies for spatial music performance: the practicalities and aesthetics of responsive systems design. / Graham, Ricky; Bridges, Brian.

In: DivergencePress, Vol. 3, No. Dec 20, 12.2014.

Research output: Contribution to journalArticle

TY - JOUR

T1 - Strategies for spatial music performance: the practicalities and aesthetics of responsive systems design

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Proceedings of the International Computer Music Conference 1994. San Francisco: International Computer Music Association. pp. 31–34. Emmerson, S. (2007) Living Electronic Music. Aldershot: Ashgate. Erickson, R. (1975) Sound Structure in Music. Berkeley: University of California Press. Graham, R. (2010) The Effects of Polyphonic Technology on Electric Guitar Performance. Postgraduate Conference of the Society for Musicology in Ireland, Dublin Institute of Technology, January 2010. Available online at: https://www.academia.edu/1140419/The_Effects_of_Polyphonic_Technology_on_Electric_Guitar_Performance [Accessed 30/8/2014] Graham, R. (2012) Expansion of Electronic Guitar Performance Practice through the Application and Development of Interactive Digital Music Systems. PhD. University of Ulster, Northern Ireland. Graham, R. and Bridges, B. (2013) Mapping and Meaning: embodied metaphors and non-localised structures in performance system design. In: Re-New 2013 Conference Proceedings. Available online at: http://www.l--l.dk/downloadables/re-new_2013_conference_proceeding.pdf [Accessed 30/8/2014] Graham, R. and Bridges B. (2014) Gesture and Embodied Metaphor in Spatial Music Performance Systems Design. In: Caramiaux, B., Tahiroğlu, K., Fiebrink, R. and Tanaka, A. (eds) Proceedings of the International Conference on New Interfaces for Musical Expression 2014, Goldsmiths, University of London, July 2014, pp. 581–584. Available online at: http://nime2014.org/proceedings/NIME2014-Proceedings.pdf [Accessed 14/7/2014] Johnson, M. (1987) The Body in the Mind: The Bodily Basis of Meaning, Imagination and Reason. Chicago: University of Chicago Press. Johnson, M. (2007) The Meaning of the Body: Aesthetics of Human Understanding. Chicago: University of Chicago Press. Krumhansl, C. (1990) Cognitive Foundations of Musical Pitch. Oxford: Oxford University Press. Lakoff, G. (1987) Women, Fire, and Dangerous Things: What Categories Reveal About the Mind. Chicago: University of Chicago Press. Lakoff, G. and Johnson, M. (1980) Metaphors we Live By. Chicago: University of Chicago Press. Lerdahl, F. (2001) Tonal Pitch-Space. Oxford: Oxford University Press. Lerdahl, F., Krumhansl, C. (2007) Modeling Tonal Tension. Music Perception, 24(4), pp. 329–366. DOI: 10.1525/MP.2007.24.4.329 Levitin, D. J. (2002) Control parameters for musical instruments: a foundation for new mappings of gesture to sound. Organised Sound, 7(2), pp. 171–189. DOI: 10.1017/S135577180200208X Moritz, A. (2002) Stockhausen: Essays on the Works. [Online] Available at: http://home.earthlink.net/~almoritz/ [Accessed 14/7/2014] Reynolds, C. (1987) Flocks, Herds and Schools: A distributed behavioral model. SIGGRAPH Comput. Graph. 21(4), pp. 25–34. Singer, E. (1997) Boids for Max. Software library. Available at: http://ericsinger.com/cyclopsmax.html [Accessed 6/7/2014] Smalley, J. (2000) Gesang der Jünglinge: History and Analysis. In: Masterpieces of 20th-Century Electronic Music: A Multimedia Perspective [Online]. New York: Columbia University Computer Music Center. Available online at: www.music.columbia.edu/masterpieces/notes/stockhausen [Accessed 14/7/2014] Smalley, D. (2007) Space Form and the Acoustic Image. Organised Sound, 12(1), pp. 35–58. DOI: 10.1017/S1355771807001665 Solomon, J. (2007) Spatialization in Music: The analysis and interpretation of Spatial Gestures. PhD. University of Georgia, Athens, Georgia. Sterne, J. (2012) Sonic Imaginations. In: Sterne, J. (ed.) The Sound Studies Reader. Abingdon, Oxford: Routledge, pp. 1–18. Stockhausen, K. (1956) Gesang der Jünglinge. Electroacoustic composition. Available on: Stockhausen Edition 3. [Audio CD]. Kürten, Germany: Stockhausen Foundation for Music. Stockhausen, K. (1957) Gruppen. [Composition]. Available on Stockhausen Edition 5. [Audio CD]. Kürten, Germany: Stockhausen Foundation for Music. Stockhausen, K. (1975) Music in Space. (Trans. R. Koenig). die Reihe, 5, pp. 67–82. Wilkie, K., Holland, S., Mulholland, P. (2010) What Can the Language of Musicians Tell Us about Music Interaction Design? Computer Music Journal, 34(40), pp. 34–48. DOI: 10.1162/COMJ_a_00024

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