Expression and its discontents

Gurevich, Michael; Treviño, Jeffrey

doi:10.1145/1279740.1279759

Cited by 40 publications

(11 citation statements)

References 23 publications

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“…Challenges to idiomaticity are also found in both acoustic and digital performance practice, including jazz guitarist Kurt Rosenwinkel’s ‘voluntary self-sabotage’ or retuning his guitar to challenge his typical improvisation patterns (de Souza 2017) to the potentially engaging effect of incorporate disfluent characteristics into digital instruments (Bin, Bryan-Kinns and McPherson 2018). Idiomaticity in traditional practice is sometimes linked to virtuosity, but virtuosity too is often challenged in digital instrument practice (Gurevich and Treviño 2007; Morreale, McPherson and Wanderley 2018).…”

Section: Idiomaticity and Influencementioning

confidence: 99%

“…Sergi Jordà (2005) brings in a discussion that ‘music instruments are not only in charge of transmitting human expressiveness like passive channels. They are, with their feedback, responsible for provoking and instigating the performer through their own interfaces’ (quoted in Gurevich and Treviño 2007: 108). Magnusson (2018: 79) similarly argues that ‘instruments are actors: they teach, adapt, explain, direct, suggest, entice.…”

Section: Idiomaticity and Influencementioning

confidence: 99%

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Idiomatic Patterns and Aesthetic Influence in Computer Music Languages

McPherson

Tahiroğlu²

2020

Org. Sound

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It is widely accepted that acoustic and digital musical instruments shape the cognitive processes of the performer on both embodied and conceptual levels, ultimately influencing the structure and aesthetics of the resulting performance. In this article we examine the ways in which computer music languages might similarly influence the aesthetic decisions of the digital music practitioner, even when those languages are designed for generality and theoretically capable of implementing any sound-producing process. We examine the basis for querying the non-neutrality of tools with a particular focus on the concept of idiomaticity: patterns of instruments or languages which are particularly easy or natural to execute in comparison to others. We then present correspondence with the developers of several major music programming languages and a survey of digital musical instrument creators examining the relationship between idiomatic patterns of the language and the characteristics of the resulting instruments and pieces. In an open-ended creative domain, asserting causal relationships is difficult and potentially inappropriate, but we find a complex interplay between language, instrument, piece and performance that suggests that the creator of the music programming language should be considered one party to a creative conversation that occurs each time a new instrument is designed.

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Section: Idiomaticity and Influencementioning

confidence: 99%

Section: Idiomaticity and Influencementioning

confidence: 99%

Idiomatic Patterns and Aesthetic Influence in Computer Music Languages

McPherson

Tahiroğlu²

2020

Org. Sound

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“…Any implementation of a new musical interface must therefore consider the ecology of this environment. Gurevich and Treviño (2007) discussed the development of a framework for an ecology of musical action:An ecological framework without the assumption of a commodity or a singular creator makes it admittedly difficult to unify or relate the experiences of the individual actors in the system. Donald Norman’s (Norman 2004) formulation of three levels of processing in the human brain and associated modes of experience facilitates a meaningfully descriptive but inclusive consideration of the musical experience from a variety of points of view.…”

Section: Instrument Designmentioning

confidence: 99%

“…The listener reacts viscerally to the sound and may also contemplate meaning. (Gurevich and Treviño 2007: 109)…”

Section: Instrument Designmentioning

confidence: 99%

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Towards Unified Design Guidelines for New Interfaces for Musical Expression

Paine

2009

Org. Sound

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The use of a laptop computer for musical performance has become widespread in the electronic music community. It brings with it many issues pertaining to the communication of musical intent. Critics argue that performances of this nature fail to engage audiences because many performers use the mouse and/or computer keyboard to control their musical works, leaving no visual cues to guide the audience as to the correlation between performance gestures and musical outcomes. The author will argue that interfaces need to communicate something of their task and that cognitive affordances (Gibson 1979) associated with the performance interface become paramount if the musical outcomes are to be perceived as clearly tied to real-time performance gestures – in other words, that the audience are witnessing the creation of the music in that moment as distinct to the manipulation of pre-recorded or pre-sequenced events. Interfaces of his kind lend themselves particularly to electroacoustic and computer music performance where timbre, texture and morphology may be paramount.

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From the Lab to the Stage: Practical Considerations on Designing Performances with Immersive Virtual Musical Instruments

Zappi

Berthaut²,

Mazzanti

2022

Sonic Interactions in Virtual Environments

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Immersive virtual musical instruments (IVMIs) lie at the intersection between music technology and virtual reality. Being both digital musical instruments (DMIs) and elements of virtual environments (VEs), IVMIs have the potential to transport the musician into a world of imagination and unprecedented musical expression. But when the final aim is to perform live on stage, the employment of these technologies is anything but straightforward, for sharing the virtual musical experience with the audience gets quite arduous. In this chapter, we assess in detail the several technical and conceptual challenges linked to the composition of IVMI performances on stage, i.e., their scenography, providing a new critical perspective on IVMI performance and design. We first propose a set of dimensions meant to analyse IVMI scenographies, as well as to evaluate their compatibility with different instrument metaphors and performance rationales. Such dimensions are built from the specifics and constraints of DMIs and VEs; they include the level of immersion of musicians and spectators and provide an insight into the interaction techniques afforded by 3D user interfaces in the context of musical expression. We then analyse a number of existing IVMIs and stage setups, and finally suggest new ones, with the aim to facilitate the design of future immersive performances.

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Expression and its discontents

Cited by 40 publications

References 23 publications

Idiomatic Patterns and Aesthetic Influence in Computer Music Languages

Idiomatic Patterns and Aesthetic Influence in Computer Music Languages

Towards Unified Design Guidelines for New Interfaces for Musical Expression

From the Lab to the Stage: Practical Considerations on Designing Performances with Immersive Virtual Musical Instruments

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