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Erschienen in:
Brain–Computer Music Interfacing: Interdisciplinary Research at the Crossroads of Music, Science and Biomedical Engineering Kapitel lesen Erstes Kapitel lesen

2014 | OriginalPaper | Buchkapitel

4. Prospective View on Sound Synthesis BCI Control in Light of Two Paradigms of Cognitive Neuroscience

verfasst von : Mitsuko Aramaki, Richard Kronland-Martinet, Sølvi Ystad, Jean-Arthur Micoulaud-Franchi, Jean Vion-Dury

Erschienen in: Guide to Brain-Computer Music Interfacing

Verlag: Springer London

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Abstract

Different trends and perspectives on sound synthesis control issues within a cognitive neuroscience framework are addressed in this article. Two approaches for sound synthesis based on the modelling of physical sources and on the modelling of perceptual effects involving the identification of invariant sound morphologies (linked to sound semiotics) are exposed. Depending on the chosen approach, we assume that the resulting synthesis models can fall under either one of the theoretical frameworks inspired by the representational-computational or enactive paradigms. In particular, a change of viewpoint on the epistemological position of the end-user from a third to a first person inherently involves different conceptualizations of the interaction between the listener and the sounding object. This differentiation also influences the design of the control strategy enabling an expert or an intuitive sound manipulation. Finally, as a perspective to this survey, explicit and implicit brain-computer interfaces (BCI) are described with respect to the previous theoretical frameworks, and a semiotic-based BCI aiming at increasing the intuitiveness of synthesis control processes is envisaged. These interfaces may open for new applications adapted to either handicapped or healthy subjects.

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Vorheriges Kapitel Contemporary Approaches to Music BCI Using P300 Event Related Potentials
Nächstes Kapitel Machine Learning to Identify Neural Correlates of Music and Emotions
Fußnoten
1
The term “concrete” is related to a compositional method which is based on concrete material, i.e., recorded or synthesized sounds, in opposition with “abstract” music which is composed in an abstract manner, i.e., from ideas written on a score, and becomes “concrete” afterwards.
 
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Metadaten
Titel
Prospective View on Sound Synthesis BCI Control in Light of Two Paradigms of Cognitive Neuroscience
verfasst von
Mitsuko Aramaki
Richard Kronland-Martinet
Sølvi Ystad
Jean-Arthur Micoulaud-Franchi
Jean Vion-Dury
Copyright-Jahr
2014
Verlag
Springer London
Buch
Guide to Brain-Computer Music Interfacing

Print ISBN: 978-1-4471-6583-5

Electronic ISBN: 978-1-4471-6584-2

Copyright-Jahr: 2014

DOI
https://doi.org/10.1007/978-1-4471-6584-2_4

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