Developing approaches to the creation of expert performance practice on new DMIs is a longstandin... more Developing approaches to the creation of expert performance practice on new DMIs is a longstanding research challenge. We present an approach which leverages an expert per-former’s embodied knowledge of expressive performance ges-ture on an existing instrument. This knowledge forms the basis for the creation of a performance practice of expressive gestures an a new DMI. The research process took place in five stages: observation of musical performance on an existing instrument, analysis of the observed expressive gestures, transformation of these gestures for the new instrument, creation of an artistic work utilizing these gestures, and ultimately the reproduction of these gestures in performance. The results of this research may prove useful to performers seeking to adopt a new DMI into their performance practice, instrument designers seek-ing to characterize expressive gestural affordances for new DMIs, and researchers seeking to understand the role of personal performance practic...
Developing approaches to the creation of expert performance practice on new DMIs is a longstandin... more Developing approaches to the creation of expert performance practice on new DMIs is a longstanding research challenge. We present an approach which leverages an expert performer’s embodied knowledge of expressive performance gesture on an existing instrument. This knowledge forms the basis for the creation of a performance practice of expressive gestures an a new DMI. The research process took place in five stages: observation of musical performance on an existing instrument, analysis of the observed expressive gestures, transformation of these gestures for the new instrument, creation of an artistic work utilizing these gestures, and ultimately the reproduction of these gestures in performance. The results of this research may prove useful to performers seeking to adopt a new DMI into their performance practice, instrument designers seeking to characterize expressive gestural affordances for new DMIs, and researchers seeking to understand the role of personal performance practice in the manifestation of expressivity.
Almost Human is an investigation of interdisciplinary performance through music that looks to the... more Almost Human is an investigation of interdisciplinary performance through music that looks to the self to try to further understand subjective performance practices in expression, gesture and sonic output. This text presents experimental methods of examining and creating music through kinaesthetic and electronic-assisted means within instrumental, dance and interactive works. The extraction of affective, performative and sonic properties from these works aids in unlocking the relationship between the choreographic, physical and conceptual object. The first part of the text explores and illustrates multimodal approaches to analysing, capturing, measuring and archiving the moving musician and dancer in an assortment of performative settings. It focuses on a series of works for solo cello, as well as interdisciplinary pieces which positions movement and embodied expressivity at the forefront of the discussion. The second part is dedicated to the aesthetic, conceptual and utilitarian co...
Proceedings of the Workshop on Practice-Based Research in New Interfaces for Musical Expression, 2015
Developing approaches to the creation of expert performance practice on new DMIs is a longstandin... more Developing approaches to the creation of expert performance practice on new DMIs is a longstanding research challenge. We present an approach which leverages an expert performer's embodied knowledge of expressive performance gesture on an existing instrument. This knowledge forms the basis for the creation of a performance practice of expressive gestures an a new DMI. The research process took place in five stages: observation of musical performance on an existing instrument, analysis of the observed expressive gestures, transformation of these gestures for the new instrument, creation of an artistic work utilizing these gestures, and ultimately the reproduction of these gestures in performance. The results of this research may prove useful to performers seeking to adopt a new DMI into their performance practice, instrument designers seeking to characterize expressive gestural affordances for new DMIs, and researchers seeking to understand the role of personal performance practice in the manifestation of expressivity.
Almost Human is an investigation of interdisciplinary performance through music that looks to the... more Almost Human is an investigation of interdisciplinary performance through music that looks to the self to try to further understand subjective performance practices in expression, gesture and sonic output. This text presents experimental methods of examining and creating music through kinaesthetic and electronic-assisted means within instrumental, dance and interactive works. The extraction of affective, performative and sonic properties from these works aids in unlocking the relationship between the choreographic, physical and conceptual object.
The first part of the text explores and illustrates multimodal approaches to analysing, capturing, measuring and archiving the moving musician and dancer in an assortment of performative settings. It focuses on a series of works for solo cello, as well as interdisciplinary pieces which positions movement and embodied expressivity at the forefront of the discussion.
The second part is dedicated to the aesthetic, conceptual and utilitarian content of a new interactive work for cellist/mover, and a prosthetic digital spine. Here, relationships are combined to showcase the permeability of the body, as well as its expressive content. The conceptual object, The Spine, serves as a generator to help expand musical and artistic possibilities. Its inclusion in the work aids in refocusing my relationship to movement and sound for creation and performance, but also aesthetically, it adds to the growing canon of experimental ventures in conceptualising expressivity.
Beyond the text, the portfolio of Almost Human includes an auditory and visual chronicle of the process between the years 2012-14, which is used to assist the reader in further understanding the performative practice and findings.
Developing approaches to the creation of expert performance practice on new DMIs is a longstandin... more Developing approaches to the creation of expert performance practice on new DMIs is a longstanding research challenge. We present an approach which leverages an expert per-former’s embodied knowledge of expressive performance ges-ture on an existing instrument. This knowledge forms the basis for the creation of a performance practice of expressive gestures an a new DMI. The research process took place in five stages: observation of musical performance on an existing instrument, analysis of the observed expressive gestures, transformation of these gestures for the new instrument, creation of an artistic work utilizing these gestures, and ultimately the reproduction of these gestures in performance. The results of this research may prove useful to performers seeking to adopt a new DMI into their performance practice, instrument designers seek-ing to characterize expressive gestural affordances for new DMIs, and researchers seeking to understand the role of personal performance practic...
Developing approaches to the creation of expert performance practice on new DMIs is a longstandin... more Developing approaches to the creation of expert performance practice on new DMIs is a longstanding research challenge. We present an approach which leverages an expert performer’s embodied knowledge of expressive performance gesture on an existing instrument. This knowledge forms the basis for the creation of a performance practice of expressive gestures an a new DMI. The research process took place in five stages: observation of musical performance on an existing instrument, analysis of the observed expressive gestures, transformation of these gestures for the new instrument, creation of an artistic work utilizing these gestures, and ultimately the reproduction of these gestures in performance. The results of this research may prove useful to performers seeking to adopt a new DMI into their performance practice, instrument designers seeking to characterize expressive gestural affordances for new DMIs, and researchers seeking to understand the role of personal performance practice in the manifestation of expressivity.
Almost Human is an investigation of interdisciplinary performance through music that looks to the... more Almost Human is an investigation of interdisciplinary performance through music that looks to the self to try to further understand subjective performance practices in expression, gesture and sonic output. This text presents experimental methods of examining and creating music through kinaesthetic and electronic-assisted means within instrumental, dance and interactive works. The extraction of affective, performative and sonic properties from these works aids in unlocking the relationship between the choreographic, physical and conceptual object. The first part of the text explores and illustrates multimodal approaches to analysing, capturing, measuring and archiving the moving musician and dancer in an assortment of performative settings. It focuses on a series of works for solo cello, as well as interdisciplinary pieces which positions movement and embodied expressivity at the forefront of the discussion. The second part is dedicated to the aesthetic, conceptual and utilitarian co...
Proceedings of the Workshop on Practice-Based Research in New Interfaces for Musical Expression, 2015
Developing approaches to the creation of expert performance practice on new DMIs is a longstandin... more Developing approaches to the creation of expert performance practice on new DMIs is a longstanding research challenge. We present an approach which leverages an expert performer's embodied knowledge of expressive performance gesture on an existing instrument. This knowledge forms the basis for the creation of a performance practice of expressive gestures an a new DMI. The research process took place in five stages: observation of musical performance on an existing instrument, analysis of the observed expressive gestures, transformation of these gestures for the new instrument, creation of an artistic work utilizing these gestures, and ultimately the reproduction of these gestures in performance. The results of this research may prove useful to performers seeking to adopt a new DMI into their performance practice, instrument designers seeking to characterize expressive gestural affordances for new DMIs, and researchers seeking to understand the role of personal performance practice in the manifestation of expressivity.
Almost Human is an investigation of interdisciplinary performance through music that looks to the... more Almost Human is an investigation of interdisciplinary performance through music that looks to the self to try to further understand subjective performance practices in expression, gesture and sonic output. This text presents experimental methods of examining and creating music through kinaesthetic and electronic-assisted means within instrumental, dance and interactive works. The extraction of affective, performative and sonic properties from these works aids in unlocking the relationship between the choreographic, physical and conceptual object.
The first part of the text explores and illustrates multimodal approaches to analysing, capturing, measuring and archiving the moving musician and dancer in an assortment of performative settings. It focuses on a series of works for solo cello, as well as interdisciplinary pieces which positions movement and embodied expressivity at the forefront of the discussion.
The second part is dedicated to the aesthetic, conceptual and utilitarian content of a new interactive work for cellist/mover, and a prosthetic digital spine. Here, relationships are combined to showcase the permeability of the body, as well as its expressive content. The conceptual object, The Spine, serves as a generator to help expand musical and artistic possibilities. Its inclusion in the work aids in refocusing my relationship to movement and sound for creation and performance, but also aesthetically, it adds to the growing canon of experimental ventures in conceptualising expressivity.
Beyond the text, the portfolio of Almost Human includes an auditory and visual chronicle of the process between the years 2012-14, which is used to assist the reader in further understanding the performative practice and findings.
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output. This text presents experimental methods of examining and creating music through kinaesthetic and electronic-assisted means within instrumental, dance and interactive works. The
extraction of affective, performative and sonic properties from these works aids in unlocking the relationship between the choreographic, physical and conceptual object.
The first part of the text explores and illustrates multimodal approaches to analysing, capturing, measuring and archiving the moving musician and dancer in an assortment of performative settings. It focuses on a series of works for solo cello, as well as interdisciplinary pieces which positions movement and embodied expressivity at the forefront of the discussion.
The second part is dedicated to the aesthetic, conceptual and utilitarian content of a new interactive work for cellist/mover, and a prosthetic digital spine. Here, relationships are combined to showcase the permeability of the body, as well as its expressive content. The conceptual object, The Spine, serves as a generator to help expand musical and artistic possibilities. Its inclusion in the work aids in refocusing my relationship to movement and sound for creation and performance, but also aesthetically, it adds to the growing canon of experimental ventures in conceptualising expressivity.
Beyond the text, the portfolio of Almost Human includes an auditory and visual chronicle of the process between the years 2012-14, which is used to assist the reader in further understanding the performative practice and findings.
output. This text presents experimental methods of examining and creating music through kinaesthetic and electronic-assisted means within instrumental, dance and interactive works. The
extraction of affective, performative and sonic properties from these works aids in unlocking the relationship between the choreographic, physical and conceptual object.
The first part of the text explores and illustrates multimodal approaches to analysing, capturing, measuring and archiving the moving musician and dancer in an assortment of performative settings. It focuses on a series of works for solo cello, as well as interdisciplinary pieces which positions movement and embodied expressivity at the forefront of the discussion.
The second part is dedicated to the aesthetic, conceptual and utilitarian content of a new interactive work for cellist/mover, and a prosthetic digital spine. Here, relationships are combined to showcase the permeability of the body, as well as its expressive content. The conceptual object, The Spine, serves as a generator to help expand musical and artistic possibilities. Its inclusion in the work aids in refocusing my relationship to movement and sound for creation and performance, but also aesthetically, it adds to the growing canon of experimental ventures in conceptualising expressivity.
Beyond the text, the portfolio of Almost Human includes an auditory and visual chronicle of the process between the years 2012-14, which is used to assist the reader in further understanding the performative practice and findings.