Hybrid Musicianship - Teaching Gestural Interaction with Traditional and Digital Instruments

This article documents a class that teaches gestural interaction and juxtaposes traditional instrumental skills with digital musical instrument concepts. In order to show the principles and reflections that informed the choices made in developing this syllabus, fundamental elements of an instrument-body relationship and the perceptual import of sensory-motor integration are investigated. The methods used to let participants learn in practical experimental settings are discussed, showing a way to conceptualise and experience the entire workflow from instrumental sound to electronic transformations by blending gestural interaction with digital musical instrument techniques and traditional instrumental playing skills. The technical interfaces and software that were deployed are explained, focusing of the interactive potential offered by each solution. In an attempt to summarise and evaluate the impact of this course, a number of insights relating to this specific pedagogical situation are put forward. Finally, concrete examples of interactive situations that were developed by the participants are shown in order to demonstrate the validity of this approach.

[1]  Dorothée Legrand Pre-Reflective Self-Consciousness : On Being Bodily in the World , 2007 .

[2]  Jan C. Schacher Action and Perception in Interactive Sound Installations: An Ecological Approach , 2009, NIME.

[3]  Liliana Ardissono,et al.  Musical interaction design with the CREATE USB interface: teaching HCI with CUIs instead of GUIs , 2008 .

[4]  R. Mizen The embodied mind. , 2009, The Journal of analytical psychology.

[5]  Gideon D'Arcangelo Creating a Context for Musical Innovation: A NIME Curriculum , 2002, NIME.

[6]  Thor Magnusson An Epistemic Dimension Space for Musical Devices , 2010, NIME.

[7]  三嶋 博之 The theory of affordances , 2008 .

[8]  Marcelo M. Wanderley,et al.  A Network-Based Framework for Collaborative Development and Performance of Digital Musical Instruments , 2008, CMMR.

[9]  Norbert Schnell,et al.  Wireless sensor interface and gesture-follower for music pedagogy , 2007, NIME '07.

[10]  Jan C. Schacher,et al.  Traces - Body, Motion and Sound , 2011, NIME.

[11]  Joseph W. Malloch,et al.  Sense/Stage - Low Cost, Open Source Wireless Sensor Infrastructure For Live Performance And Interactive, Real-Time Environments , 2010, ICMC.

[12]  Michael Rohs,et al.  Interactivity for Mobile Music-Making , 2009, Organised Sound.

[13]  Gil Weinberg,et al.  Interconnected Musical Networks: Toward a Theoretical Framework , 2005, Computer Music Journal.

[14]  Sageev Oore Learning Advanced Skills on New Instruments (or practising scales and arpeggios on your NIME) , 2005, NIME.

[15]  S. Gallagher How the body shapes the mind , 2005 .

[16]  Jens Jacobsen,et al.  The challenges of interactive dance: An overview and case study , 1998 .

[17]  Perry R. Cook,et al.  PLOrk: The Princeton Laptop Orchestra, Year 1 , 2006, ICMC.

[18]  David Wessel,et al.  An Enactive Approach to Computer Music Performance , 2006 .

[19]  Norbert Schnell,et al.  Modular musical objects towards embodied control of digital music , 2011, Tangible and Embedded Interaction.

[20]  G. Lakoff,et al.  Metaphors We Live by , 1981 .

[21]  Sergi Jordà,et al.  Digital Instruments and Players: Part I - Efficiency and Apprenticeship , 2004, NIME.

[22]  Jan C. Schacher Motion To Gesture To Sound: Mapping For Interactive Dance , 2010, NIME.