Explored this and generated some sketches for Tom using the Hauptwerk Grand Organ emulation.
GYRE Intro sketch:
- Purely using Pedal voice & Carillon to set tone
- Using filtered noise to create swirling texture building intensity
- Noise source: visual clips sent to me from Tom - opened in audacity as Raw Audio
- aligned with secondary GYRE concept of circular feedback in process
GYRE Oscillation sketch:
- Experimented with Native Instruments Reaktor ensemble Spiral to generate swirling MIDI patterns
- Edited good takes into MIDI clip in Ableton and added draft accompaniment
- Aligned with GYRE concept
GYRE Grain sketch:
- Exploring possibilities of dynamic timbral modulation to create disjunct and flux with acoustic organ voicing
- Using same MIDI pattern sent to Hauptwerk sent to the MTH Grand Organ
- Using modulated granular synthesis on recording of Hauptwerk played against acoustic organ voicing
- Recycling within process aligned with GYRE concept
- Ability to slowly rupture and "de-rupture" purely through timbral modulation attractive as a means to articulate GYRE concept
Mini lit review assessment task:
Enhancing Kinesthetic Awareness and Proprioception Through the Application of Strategic Sonic Modalities.
Kinesthetic Awareness is the sensory process of locating the body within space, utilizing sensory input to temporally locate the body within external space. This is distinct from the process of Proprioception, which pertains explicitly to the internal awareness and control of the muscular system which dictate the negotiation of body within space. Often the two are often incorrectly conflated, though the dichotomy is critical especially within the context of clinical, athletic and professional dance practice.
Sonic modalities have been explored within the context of enhancing Proprioception and Kinesthetic Awareness within the work of Barrass et al. (2009) Through the use of GPS coordinates and accelerometer data to extrapolate velocity and acceleration, parameters of live synthesis were modulated and played to an elite rowing team in real time. The athlete participants in the study all reported that the sonic events that were generated from their movements allowed a perception of their technique that gave greater insight than watching a recorded video of their training sessions, allowing them to improve their technique.
The natural relationship between sound, kinesthetic awareness and proprioception are clearly evident within the context of instrumental musicianship and voice training. The feedback between the perception of gesture driven sound and motor dexterity to achieve finer, and more harmonious control of sound through gesture has been articulated by Orenstein (2003) stating that motor learning is reliant on the ability for the performer to identify and respond to discrete perceptual cues. Orenstein draws parallels with the kinesthetic awareness required of elite athletes to identify perceptual motion cues of velocity and acceleration to excel in their field with the sonic perceptual motion cues of pitch and rhythm as being equally vital in the the context of voice training to achieve excellence through enhanced proprioceptive control. Orenstein continues to identify sonic perceptual cues within sports by illustrating the desirable tonal beauty of a perfect shot in basketball, the “swish” as being a clear kinesthetic indicator of proprioceptive control.
In their systematic review of the practical application of sonification techniques used to express physical characteristics, Dubus and Bresin (2013) reviewed a randomised selection of 179 journals from a database of 739 providing a comprehensive view of practical sonic modalities dating back to 1945. Though the topic of the enquiry was to build a unified topography of the design methodologies explored within sonification practice, Dubus and Bresin made clear note of the strong relationship between auditory perception and motor control and that of the ability of sound to articulate movement through space. Indeed, their review plots the implementation of sonic characteristics to describe movement and spatial awareness. Their findings showed not only that basic pitch relationships are the prevailing design choice to articulate movement, but that spatialisation of sound is almost exclusively used to articulate kinematics. However, Dubus and Bresin note that only a marginal amount of the mapping strategies employed within the publications they reviewed actually have actually had those strategies evaluated, which is alarming. Clearly a greater amount of rigour from a design perspective needs to be implemented to advance the practical application of movement sonification further into the 21st Century.
Reference list:
Barrass S, Mattes K, Schaffert N, Effenburg A 2009, ‘Exploring Function And Aethetics In Sonifications For Elite Sports’, In. Proc. 2nd Int. Conference on Music Communication Science (ICoMCS2). 3rd-4th December 2009, Sydney, Australia.
Ohrenstein, D 2003 ‘Journal of Singing’ - The Official Journal of the National Association of Teachers of Singing 60.1 (Sep 2003): 29-35.
Dubus G, Bresin R 2013 ‘A Systematic Review of Mapping Strategies for the Sonification of Physical Quantities’ PLoS ONE 8(12): e82491. doi:10.1371/ journal.pone.0082491
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