Gestural Performance of Electronic Music—A “NIME” Practice as Research

Leonardo ◽  
2016 ◽  
Vol 49 (1) ◽  
pp. 84-85
Author(s):  
Jan C. Schacher
Keyword(s):  
Electronic Music ◽  
Music Performance ◽  
Musical Instruments ◽  
The Body ◽  
Practice Research ◽  
Artistic Practice ◽  
Expressive Performance ◽  
Or Practice

The practice of gestural electronic music performance provides a valid context for artistic or practice-based investigations in the field of ’NIME.’ To this end, the material and conceptual conditions for the development of performance pieces using gestural actions need to be explored. The use of digital musical instruments and concepts for the expressive performance with digital sounds leads to questions of perception—by the musician and by the audience—of movements and actions, the body, the instruments, and of their affordances. When considering this performance mode as a topic for investigation, it becomes evident that in order to be based on practice, research in this field needs a definition and differentiation that helps to identify the specific perspectives that are only made possible through application in an actual artistic practice.

Percussion Theatre: a body in between

2018 ◽  
Author(s):  
◽  
Jennifer Torrence
Keyword(s):  
Contemporary Music ◽  
Music Performance ◽  
The Body ◽  
John Cage ◽  
Artistic Practice ◽  
Research Project ◽  
Art Forms ◽  
Recent Developments ◽  
And Performance

What does the musician become when sound and instrumental thinking are no longer privileged as the foundation of a musician's practice? In what ways does an emphasis on the musician's body cause music to approach art forms such as theatre and performance? After a generation of pioneering work from Mauricio Kagel, Dieter Schnebel, John Cage and many others, where is the theatrical and the performative in music today? How do its recent developments shape, alter, constitute a musician's artistic practice? Through her research, Jennifer Torrence argues that this type of music demands the musician assume a different understanding and relation to their instrument and therefore a different relation to their body. This relation calls for new ways of making and doing (new artistic practices) that foreground the body as a fundamental performance material. Through an emphasis on the body, the musician emerges as a performer. This exposition is a reflection on the research project Percussion Theatre: a body in between. This project is comprised of a collection of new evening-length works that approach the theatrical and performative in contemporary music performance. These works are created with and by composers Wojtek Blecharz, Carolyn Chen, Neo Hülcker, Johan Jutterström, Trond Reinholdtsen, François Sarhan, and Peter Swendsen. The exposition contains reflections on recent developments in contemporary music that mark a mutation of the executing musician into a co-creating performer, as well as images, artefacts, videos, and texts that unfold the process of creating and performing the work that constitutes this project. The ambition of this exposition is that through the exposure of a personal artistic practice an image of a larger field may come into focus.

Making and Remaking: The Practice Research of Place

Placemaking ◽  
2020 ◽  
pp. 123-149
Author(s):  
Tara Page
Keyword(s):  
Social Relations ◽  
The Body ◽  
Innovative Approach ◽  
New Materialism ◽  
Practice Research ◽  
Research Approach ◽  
Empirical Methods ◽  
Artistic Practice ◽  
Practice Methods ◽  
Relations Of Power

To understand and question these everyday and artistic practices of life that are sometimes invisible or hidden - and most of the time taken for granted - because they are sensed, felt, of the body, and not easily verbalised, an embodied, affective, relational research approach is needed. The innovative approach of practice research, underpinned by new materialism, that can enable these understandings are discussed in Chapter Five. Additionally, inventive artistic practice methods and a remaking of traditional empirical methods are examined that enable the exploration of the agency of matter and advance vitalist frameworks. By moving beyond the problem-focused approach this chapter works the intra-actions of theory with practice, practice with theory, to develop new approaches to new materialist-place practice research. The practice research approach also politically positions research practices, emphasising the complex materiality of bodies immersed in social relations of power.

When arts and science meet: Digital technology in artistic research

2021 ◽  
Vol 13 (2-3) ◽  
pp. 117-140 ◽  
Author(s):  
Giusy Caruso ◽  
Luc Nijs
Keyword(s):  
Teaching And Learning ◽  
Music Cognition ◽  
Music Performance ◽  
Digital Technologies ◽  
The Body ◽  
Artistic Practice ◽  
Use Of Technology ◽  
Performance Interpretation ◽  
Piano Composition ◽  
Artistic Research

In recent decades, advancements in digital technologies have become a rich source of inspiration for artists, who seek to leave the trodden paths and find novel ways of expression. In addition, digital technologies are increasingly implemented in the development of artistic skills, providing new means to develop the artists’ reflection on their own development. As such, they hold great potential to shape artistic research. Moreover, digital technologies offer possibilities to capture the learning process based on quantitative measurement, thereby becoming a potential interface between artistic and scientific approaches to investigating artistic growth. This contribution presents two artistic projects illustrating the potentialities of the art–science encounter. Embedded in the research paradigm of embodied music cognition, both projects explore the role of the body in music performance (interpretation and improvisation). The first project investigates the relation between gesture and interpretative intentions in a contemporary piano composition. The second project concerns the development of one’s musical language through kinemusical improvisation. A mixed methodology and the use of technology as ‘an augmented mirror’ to monitor artistic practice were applied. Both projects illustrate how the implementation of digital technologies may boost the evolution in artistic research and facilitate novel approaches to music teaching and learning.

Soma-based Non-Physical Instrument Design in Electronic Music Performance

Leonardo ◽  
2020 ◽  
pp. 1-8
Author(s):  
Mary Mainsbridge
Keyword(s):  
Interaction Design ◽  
Electronic Music ◽  
Design Research ◽  
Body Movement ◽  
Music Performance ◽  
Cost Effective ◽  
Musical Instrument ◽  
The Body ◽  
Whole Body ◽  
Motion Sensors

Attention to the role of the body and bodily awareness in human-computer interaction is increasing. Broader availability of cost-effective motion sensors in mobile and gaming applications has prompted a shift to body-centred design methods. This article examines the relevance of embodied sketching activities drawn from soma-based and sonic interaction design to digital musical instrument (DMI) development. It focuses specifically on the Telechord, a novel motion-controlled system that promotes exploratory methods for exploring connections between movement and sound. By emphasising the felt aspects of movement-based design and performance, this approach places performer experience at the forefront, complementing technical efforts to enhance nuance and coherence in current DMI design research. Keywords: Whole body movement, soma-based design, sonic interaction design; embodied sketching; vocal sketching; digital musical instrument (DMI) design.

scholarly journals Performers of the night: Examining the mental health of electronic music artists

2021 ◽  
pp. 030573562097698
Author(s):  
Jolan Kegelaers ◽  
Lewie Jessen ◽  
Eline Van Audenaerde ◽  
Raôul RD Oudejans
Keyword(s):  
Mental Health ◽  
Social Support ◽  
Sleep Disturbance ◽  
Electronic Music ◽  
Music Performance ◽  
Well Being ◽  
Cross Sectional ◽  
Music Performance Anxiety ◽  
Symptoms Of Depression ◽  
Levels Of Functioning

Despite growing popular interest for the mental health of electronic music artists, scientific research addressing this topic has remained largely absent. As such, the aim of the current study was to examine the mental health of electronic music artists, as well as a number of determinants. Using a cross-sectional quantitative design, a total of 163 electronic music artists participated in this study. In line with the two-continua model of mental health, both symptoms of depression/anxiety and well-being were adopted as indicators for mental health. Furthermore, standardized measures were used to assess potential determinants of mental health, including sleep disturbance, music performance anxiety, alcohol abuse, drug abuse, occupational stress, resilience, and social support. Results highlighted that around 30% of participants experienced symptoms of depression/anxiety. Nevertheless, the majority of these participants still demonstrated at least moderate levels of functioning and well-being. Sleep disturbance formed a significant predictor for both symptoms of depression/anxiety and well-being. Furthermore, resilience and social support were significant predictors for well-being. The results provide a first glimpse into the mental health challenges experienced by electronic music artists and support the need for increased research as well as applied initiatives directed at safeguarding their mental health.

Making Up 3D Bodies

2021 ◽  
Vol 4 (2) ◽  
pp. 1-9
Author(s):  
Kiona Hagen Niehaus ◽  
Rebecca Fiebrink
Keyword(s):  
Software Tool ◽  
The Body ◽  
Design Parameters ◽  
Artistic Practice ◽  
Human Form ◽  
Modeling Systems ◽  
Exploratory Approach ◽  
Disability Status ◽  
High Level ◽  
The Impact

This paper describes the process of developing a software tool for digital artistic exploration of 3D human figures. Previously available software for modeling mesh-based 3D human figures restricts user output based on normative assumptions about the form that a body might take, particularly in terms of gender, race, and disability status, which are reinforced by ubiquitous use of range-limited sliders mapped to singular high-level design parameters. CreatorCustom, the software prototype created during this research, is designed to foreground an exploratory approach to modeling 3D human bodies, treating the digital body as a sculptural landscape rather than a presupposed form for rote technical representation. Building on prior research into serendipity in Human-Computer Interaction and 3D modeling systems for users at various levels of proficiency, among other areas, this research comprises two qualitative studies and investigation of the impact on the first author's artistic practice. Study 1 uses interviews and practice sessions to explore the practices of six queer artists working with the body and the language, materials, and actions they use in their practice; these then informed the design of the software tool. Study 2 investigates the usability, creativity support, and bodily implications of the software when used by thirteen artists in a workshop. These studies reveal the importance of exploration and unexpectedness in artistic practice, and a desire for experimental digital approaches to the human form.

scholarly journals Automated Analysis of Body Movement in Emotionally Expressive Piano Performances

2008 ◽  
Vol 26 (2) ◽  
pp. 103-119 ◽  
Author(s):  
Ginevra Castellano ◽  
Marcello Mortillaro ◽  
Antonio Camurri ◽  
Gualtiero Volpe ◽  
Klaus Scherer
Keyword(s):  
Emotional Expression ◽  
Temporal Dynamics ◽  
Body Movement ◽  
Music Performance ◽  
The Body ◽  
Head Movements ◽  
Automated System ◽  
Upper Body ◽  
Musical Score ◽  
Motion Cues

EMOTIONAL EXPRESSION IN MUSIC PERFORMANCE includes important cues arising from the body movement of the musician. This movement is related to both the musical score execution and the emotional intention conveyed. In this experiment, a pianist was asked to play the same excerpt with different emotionally expressive intentions. The aim was to verify whether different expressions could be distinguished based on movement by trying to determine which motion cues were most emotion-sensitive. Analyses were performed via an automated system capable of detecting the temporal profiles of two motion cues: the quantity of motion of the upper body and the velocity of head movements. Results showed that both were sensitive to emotional expression, especially the velocity of head movements. Further, some features conveying information about movement temporal dynamics varied among expressive conditions allowing emotion discrimination. These results are in line with recent theories that underlie the dynamic nature of emotional expression.

Motion Tracking of a Fish as a Novel Way to Control Electronic Music Performance

Leonardo ◽  
2016 ◽  
Vol 49 (3) ◽  
pp. 203-210 ◽  
Author(s):  
Shaltiel Eloul ◽  
Gil Zissu ◽  
Yehiel H. Amo ◽  
Nori Jacoby
Keyword(s):  
Electronic Music ◽  
Motion Tracking ◽  
Music Performance ◽  
Three Dimensional ◽  
Extra Information

The authors have mapped the three-dimensional motion of a fish onto various electronic music performance gestures, including loops, melodies, arpeggio and DJ-like interventions. They combine an element of visualization, using an LED screen installed on the back of an aquarium, to create a link between the fish’s motion and the sonified music. This visual addition provides extra information about the fish’s role in the music, enabling the perception of versatile and developing auditory structures during the performance that extend beyond the sonification of the momentary motion of objects.

Sign in / Sign up

Export Citation Format

Share Document