Combining the Acoustic and the Digital: Music for Instruments and Computers or Prerecorded Sound

Emmerson, Simon

doi:10.1093/oxfordhb/9780199792030.013.0009

Cited by 6 publications

(14 citation statements)

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“…Conceptually, relationships between people and machines when combining acoustic and electroacoustic music in performance in real space is well covered by Emmerson (2009). This can be drawn on in Internet2 practice at individual nodes.…”

Section: Identity Relationships and Rolesmentioning

confidence: 99%

“…His classification of choices suggests two paradigms of machine role: as an extension of the human body, or another performer either as a clone or something in its own right. Emmerson (2009) also outlines the main themes of combination or mixed works including antithesis, integration and co-existence; transformation , such as through spatialisation, time-shifting or frequency and timbral alteration; and control , covering fixed, flexible and open scores, and interaction between performer and equipment – including algorithms and rules.…”

Section: Identity Relationships and Rolesmentioning

confidence: 99%

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Internet2 and Global Electroacoustic Music: Navigating a decision space of production, relationships and languages

Whalley

2012

Org. Sound

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Using Internet2 for audio performance, supported by digital video communication between players, provides the opportunity for networked electroacoustic music practitioners to connect with, bridge, amalgamate and lead diverse sound-based music traditions. In combination with intelligent/multi-agent software, this facilitates new hybrid sonic art forms. Extending prior work by the author,Mittsu no Yugo(Whalley 2010a) recently explored this direction. While Internet2 expands production/aesthetic possibilities, accommodating established aesthetics in tandem requires careful consideration. Beginning from a prior model of a decision space (Whalley 2009), the paper discusses the extended decision terrain and choices that Internet2 brings, and some of the compromises that need to be made to realise the proposition. The paper is then part conceptual map, and part artistic perspective.

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Section: Identity Relationships and Rolesmentioning

confidence: 99%

Section: Identity Relationships and Rolesmentioning

confidence: 99%

Internet2 and Global Electroacoustic Music: Navigating a decision space of production, relationships and languages

Whalley

2012

Org. Sound

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“…Many musicians embrace the products of newly developed technology because of the new dimensions for personal expression they provide. As science progresses, the use of technologies such as electric pick-ups, amplification and mobile computing have led to creative possibilities for performers and new experiences for audiences, whilst disassociating cause and effect in a musical world where excitation can be remote from sound production [5,9,12].…”

Section: Introductionmentioning

confidence: 99%

Design and evaluation of a digitally active drum

Williams

Overholt

2020

Pers Ubiquit Comput

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Despite the ever growing variety and popularity of commercially available electronic percussion (EP) instruments, there are still a significant number of active musicians who prefer to use acoustic drums. Digitally active drum (DAD) is an enhanced snare drum that provides sonic capabilities associated with digital musical instruments in the form of a traditional acoustic drum allowing full use of acoustic drumming gesture vocabulary. By using an in-built loud speaker and tactile sound transducers system, a Bela Cape and Beagle Bone Black, near field photoelectric sensors and a synthesis and effects patch built in Pure Data (PD), a prototype of a hybrid acoustic-electronic instrument has been made. This prototype has been evaluated by five expert drummers and two co-performers in both group and solo settings in order to determine its effectiveness and potential role in professional music making. Keywords Augmented drums • Electronic percussion • Music technology • Digital musical instruments • New interfaces for musical expression • Sound & music computing • Active acoustics • Hybrid instruments • Musical instrument evaluation Electronic supplementary material The online version of this article (

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“…vibrato) are analyzed by the computer, and the subsequent electronic sounding (e.g., a chord) is dependent on the amount of vibrato. In musical works of this kind, a notion of interacting with “a disembodied other” (Emmerson, 2009 ) (i.e., computer technology), brings questions of embodiment and music to the heart of the discussion. We believe that the notion of affordances—in the broadened sense of cultural affordances discussed in this paper—can play a central role in such endeavors.…”

Section: Introductionmentioning

confidence: 99%

Exploring the Multi-Layered Affordances of Composing and Performing Interactive Music with Responsive Technologies

Einarsson

Ziemke

2017

Front. Psychol.

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The question motivating the work presented here, starting from a view of music as embodied and situated activity, is how can we account for the complexity of interactive music performance situations. These are situations in which human performers interact with responsive technologies, such as sensor-driven technology or sound synthesis affected by analysis of the performed sound signal. This requires investigating in detail the underlying mechanisms, but also providing a more holistic approach that does not lose track of the complex whole constituted by the interactions and relationships of composers, performers, audience, technologies, etc. The concept of affordances has frequently been invoked in musical research, which has seen a “bodily turn” in recent years, similar to the development of the embodied cognition approach in the cognitive sciences. We therefore begin by broadly delineating its usage in the cognitive sciences in general, and in music research in particular. We argue that what is still missing in the discourse on musical affordances is an encompassing theoretical framework incorporating the sociocultural dimensions that are fundamental to the situatedness and embodiment of interactive music performance and composition. We further argue that the cultural affordances framework, proposed by Rietveld and Kiverstein (2014) and recently articulated further by Ramstead et al. (2016) in this journal, although not previously applied to music, constitutes a promising starting point. It captures and elucidates this complex web of relationships in terms of shared landscapes and individual fields of affordances. We illustrate this with examples foremost from the first author's artistic work as composer and performer of interactive music. This sheds new light on musical composition as a process of construction—and embodied mental simulation—of situations, guiding the performers' and audience's attention in shifting fields of affordances. More generally, we believe that the theoretical perspectives and concrete examples discussed in this paper help to elucidate how situations—and with them affordances—are dynamically constructed through the interactions of various mechanisms as people engage in embodied and situated activity.

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Combining the Acoustic and the Digital: Music for Instruments and Computers or Prerecorded Sound

Cited by 6 publications

References 0 publications

Internet2 and Global Electroacoustic Music: Navigating a decision space of production, relationships and languages

Internet2 and Global Electroacoustic Music: Navigating a decision space of production, relationships and languages

Design and evaluation of a digitally active drum

Exploring the Multi-Layered Affordances of Composing and Performing Interactive Music with Responsive Technologies

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