UID:
almahu_9949767288302882
Umfang:
1 online resource (347 pages)
Ausgabe:
1st ed.
ISBN:
9783031578922
Serie:
Current Research in Systematic Musicology Series ; v.12
Anmerkung:
Intro -- Preface -- Contents -- Contributors -- Theoretical Perspectives -- Generic Motion Components for Sonic Design -- 1 Introduction -- 2 Sonic Features -- 3 Generative Features -- 4 Multimodality -- 5 Analytic Tools -- 6 Textures and Roles -- 7 Ontological Reflections -- 8 Musical Translation -- 9 Conclusions -- References -- Sound Design and the Theory of Self-augmented Interactions -- 1 Introduction -- 2 Strategies: Stimulus-Response or Interaction? -- 3 Components: Emergent Patterns and Expressive Gestures -- 3.1 Pattern Emergence -- 3.2 Gestural Expression -- 4 Capacities: Affordance, Entrainment and Anticipation -- 4.1 Affordance Capacity -- 4.2 Entrainment Capacity -- 4.3 Anticipation Capacity -- 5 Sound Design and the Theory of Self-augmented Interaction -- 5.1 What is Self-augmented Interaction? -- 5.2 A Model for Self-augmented Interaction -- 5.3 Foundations in Expression Theory -- 6 Biofeedback Systems -- 6.1 Sound Design in Biofeedback Systems -- 6.2 Ethical Considerations of Sound Design -- 7 Conclusion -- References -- Musical Meter as Shape: An Embodied Perspective on Metrical Trajectories and Curves -- 1 Introduction -- 2 Music and Motion -- 3 Meter-Related Motion -- 4 Toward a Theory of Meter as Shape -- 5 Metrical Shapes in Norwegian Folk Music and Dance -- 6 Concluding Remarks -- References -- Prelude to a Theory of Gestural Time, Proto-Geometry, and Music -- 1 Introduction -- 2 From Gestural Objects to Gestural Time -- 3 Husserl's Proto-Geometry -- 4 Micro-gesture and Phenomenological Variation -- 5 Experience Matters -- References -- A Grammar of Expressive Conducting Gestures -- 1 Introduction -- 2 Related Work -- 2.1 Sound-Related Gestures -- 2.2 Conducting Gestures -- 2.3 Motivation -- 3 Similarities Between Sign Language and Conducting Gestures -- 3.1 Phonological Components -- 4 Spatiality -- 5 Iconicity.
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5.1 Iconicity at the Lexical Level -- 5.2 Iconicity at the Syntactical Level -- 5.3 Iconicity at the Semantic Level -- 6 Repertoire of Four Classes of Conducting Gestures -- 6.1 Sound Categories and Variations -- 6.2 Grammar of Gestures and Their Modulation -- 6.3 Data Acquisition Protocol -- 6.4 Evaluation and Research Methodology -- 7 Conclusion -- References -- Performance Perspectives -- Different Attitudes of Expressive Movement Awareness in Professional Musicians -- 1 Introduction -- 2 Kinesthesia, Habits, and Sound-Action Awareness in Music -- 2.1 Interviews -- 2.2 Observation -- 2.3 Audio-Visual Material -- 2.4 Participants -- 2.5 Procedure -- 2.6 Data Analysis -- 3 Findings -- 3.1 Theatralization -- 3.2 Automatic Repertoire of Expressive Movements -- 3.3 Exploring Movements -- 4 Discussion -- 5 Conclusions -- References -- Empirical Analysis of Gestural Sonic Objects Combining Qualitative and Quantitative Methods -- 1 Introduction -- 1.1 Gestural Sonic Objects -- 1.2 Multimodal Analysis of Music Performance -- 1.3 Machine Learning in Music Practice and Analysis -- 2 Gestural Sonic Object Multimodal Analysis -- 2.1 The Piece: Fragmente2 -- 2.2 Quantitative Data Collection -- 2.3 Gestural Sonic Object Qualitative Annotation Method -- 2.4 Feature Ranking Using the Random Forest Algorithm -- 2.5 Multimodal Spotting -- 3 Results -- 3.1 Feature Ranking Per Modality -- 3.2 Online Learning Investigation of Gestural Sonic Objects -- 4 Discussion -- 4.1 Using Gestural Sonic Objects in Artistic Practice -- 4.2 Annotation Method and Theory: Practical and Conceptual Considerations -- 4.3 Interpretation of the Feature Ranking Results -- 5 Conclusions and Implications -- References -- Studying Performances with Digital Musical Instruments: A Case Study of Ritual, a Piece for Solo Karlax -- 1 Introduction -- 2 Digital Musical Instruments in Context.
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3 Implications for DMI Design and Performance -- 3.1 Improved Design -- 3.2 Accessibility -- 3.3 Musical Practice -- 3.4 Longevity -- 3.5 Musical Novelty -- 4 The Karlax -- 5 A Comparative Analysis of Interpretations of Ritual for Solo Karlax -- 5.1 Ritual for Solo Karlax -- 6 Analysis -- 6.1 Attack/Resonance -- 6.2 Melodic Play -- 6.3 Crescendo Followed by a Terminal Accent -- 7 Discussion -- 7.1 Suggestions for Practice Exercises Based on Gestures in Ritual -- 7.2 A Few Thoughts on the Use of Digital Instruments and Contemporary Music Creation -- 8 Conclusion and Future Work -- References -- Artistic Exploration -- Embodied Sonic Design: Sound and the Sensory Apprehension of Movement -- 1 Introduction -- 2 From Theory to Practice-Based Research -- 3 The Role of Movement and Improvisation -- 4 Perception is Art -- 5 Embodiment -- 6 Audible Kinesthetic Empathy -- 7 Sound Shadows -- 8 360-Degree Sound Shadows in the Presence in My Absence -- 9 Sound Perceived as a Moving Material Form -- 10 Embodied Binaural Spatialization -- 11 The Third Movement: An Installation in the Kinesphere -- 12 Technology and Access -- 13 Where Do We Go from Hear? -- References -- Sonic Design and Spatial Features -- 1 Introduction -- 2 Linear and Non-linear Relationships -- 3 A Brief Outline of the Typomorphology -- 4 Perspectives on Space -- 5 Approaches to Space -- 6 Conclusion -- References -- The Sonic Imagery of the Covid-19 Pandemic -- 1 Introduction -- 2 An Overview of the Sounding Covid-19 Repository -- 3 Analysing Soundscapes -- 3.1 Sound-Motion Objects -- 3.2 Mental Presence -- 4 Analysing the Sounding Covid-19 Soundscapes -- 5 Understanding the Sounding Covid-19 Repository -- 6 Reflections -- References -- Excitations and Resonances: Misinterpreted Actions in Neon Meditations -- 1 Introduction -- 2 Colour and Sound -- 3 The Patch -- 4 Sound Design.
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5 Interaction -- 6 The Motor Theory Perspective -- 7 Sound-Motion Objects in Live-Electronics -- 8 Assessment of the Sound-Motion Object -- References -- Technological Innovation -- Aspects of Sound Structure in Historic Organs of Europe -- 1 Introduction -- 2 Some Basic Organology -- 3 A Few Notes on the Development of Pipe Organs -- 4 Sound Generation: Empirical Observations -- 5 Sound Structure and Tuning -- 6 Concluding Remarks -- References -- Exploring the Electroacoustic Music History Through Interactive Sonic Design -- 1 Introduction -- 2 Methodology -- 3 The Early Electroacoustic Music Era (1948-1960) -- 4 The Electroacoustic Music Evolution Era (1960-1990) -- 5 The Digital Age (1990-Today) -- 6 Similarities and Differences -- 7 Conclusion -- References -- Musicological and Technological Perspectives on Computational Analysis of Electroacoustic Music -- 1 Introduction -- 2 Pierre Schaeffer's Traité des objets musicaux -- 2.1 Sound Objects and Reductive Listening -- 2.2 Typology -- 2.3 Morphology -- 2.4 Beyond the Traité -- 3 More Recent Analytical Approaches -- 3.1 R. Murray Schafer's Soundscape Analysis -- 3.2 Denis Smalley's Spectro-Morphology -- 3.3 Stephane Roy's Hierarchical and Functional Analysis -- 3.4 Lasse Thoresen's Graphical Formalisation -- 3.5 Ecrins Audio-Content Description -- 3.6 Structural and Functional Analyses -- 3.7 Pierre Couprie's Morphology -- 4 Computational Electroacoustic Music Analysis -- 4.1 Sound Object Detection -- 4.2 Dynamics -- 4.3 Facture -- 4.4 Mass, Harmonicity and Pitch -- 4.5 Temporal Motions -- 4.6 Spatial Analysis -- 4.7 Other Timbral Aspects -- 4.8 Rhythm -- 4.9 Structural and Semantic Analysis -- 4.10 Software -- 5 Towards a Toolbox des Objets Sonores -- 6 Conclusions -- References -- Designing Musical Instruments and Room Acoustics with Acoustic Metamaterials -- 1 Introduction.
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1.1 What Is an Acoustic Metamaterial? -- 1.2 Are Musical Instruments Already Metamaterials? -- 2 Methods -- 2.1 Frame Drum -- 2.2 Impedance Tube -- 2.3 Modified String -- 3 Results -- 3.1 Metamaterial Drum -- 3.2 Spherical Labyrinth Structure -- 3.3 Manipulated String -- 4 Conclusions -- 5 Supplementary Material -- References -- Exploring Musical Agents with Embodied Perspectives -- 1 Introduction -- 1.1 Musical Agents -- 1.2 Embodied Perspective -- 1.3 Musical Control -- 2 Artistic Foundation -- 2.1 Feedback -- 2.2 Biofeedback -- 2.3 Biocontrol -- 2.4 Coadaptation -- 2.5 Musical AI and MAS -- 3 Embodiment -- 3.1 Low Level -- 3.2 Middle Level -- 3.3 High Level -- 4 Retrospective -- 4.1 Biostomp -- 4.2 Vrengt -- 4.3 RAW -- 4.4 Playing in the ``Air'' -- 4.5 CAVI -- 5 Discussion -- References -- Author Index.
Weitere Ausg.:
Print version: Jensenius, Alexander Refsum Sonic Design Cham : Springer International Publishing AG,c2024 ISBN 9783031578915
Sprache:
Englisch
Schlagwort(e):
Electronic books.
