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2017 | OriginalPaper | Buchkapitel

3. On Biophysical Music

verfasst von : Marco Donnarumma

Erschienen in: Guide to Unconventional Computing for Music

Verlag: Springer International Publishing

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Abstract

Biophysical music is a rapidly emerging area of electronic music performance. It investigates the creation of unconventional computing interfaces to directly configure the physiology of human movement with musical systems, which often are improvisational and adaptive. It draws on a transdisciplinary approach that combines neuromuscular studies, phenomenology, real-time data analysis, performance practice and music composition. Biophysical music instruments use muscle biosignals to directly integrate aspects of a performer’s physical gesture into the human–machine interaction and musical compositional strategies. This chapter will introduce the principles and challenges of biophysical music, detailing the use of physiological computing for musical performance and in particular the musical applications of muscle-based interaction.

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Vorheriges Kapitel On Unconventional Computing for Sound and Music

Nächstes Kapitel The Transgressive Practices of Silicon Luthiers

With the latter term I indicate instruments made of sensors, transducers, circuits and algorithms. This is an important distinction in the context of the argument I am weaving here. My use of the term electronic musical instrument does not include electronic instruments such as analogue synthesisers for instance, because they generally lack physiological or motion sensors and computational capabilities.

A process that Jordà (2005) has aptly called ‘digital lutherie’, or the development of techniques and strategies for musical performance with computers.

Throughout the remainder of this chapter, the term ‘gesture' is always intended as physical gesture.

The XTH Sense is released as a free and open project (GPLV2 and CC licenses) to foster a grassroot approach to physiological computing for the arts. The instrument is used in interactive music projects by a growing community of musicians, composers and students worldwide. See http://xth.io.

See http://infusionsystems.com/catalog/product_info.php/products_id/199.

This relation goes as far as to alter the perception of one's body based on the timbre of an auditive stimulus, as Tajadura-Jiménez et al. (2015) have recently demonstrated.

Technically, a sensory receptor is the ending of a sensory nerve. It transduces internal or external stimuli in an electrical impulse for the central nervous system. The muscle sensory receptors are called muscle spindles, and they sense the changes in the muscle length, for instance.

For a radical take on this problematic see the work of phenomenologist Sheets-Johnston (1999) on the primacy of movement, where she argues that, in short, feeling is the embodiment of movement and that it is movement to yield ones subjectivity. I do not make use of her work here as I want to focus the discussion on movement in relation to the use of instruments, as opposed to an analysis of movement in itself, which would require a different kind of analytical framework than the one I set up in this chapter.

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Titel: On Biophysical Music
verfasst von: Marco Donnarumma
Verlag: Springer International Publishing
Buch: Guide to Unconventional Computing for Music
Print ISBN: 978-3-319-49880-5

Electronic ISBN: 978-3-319-49881-2

Copyright-Jahr: 2017
DOI: https://doi.org/10.1007/978-3-319-49881-2_3

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