Skill Development and Stabilisation of Expertise for Electronic Music Performance

Schacher, Jan C.; Neff, Patrick

doi:10.1007/978-3-319-46282-0_7

Cited by 3 publications

(4 citation statements)

References 37 publications

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“…Each time this happened, the entire audience, teased to the point of frustration by the relentless drone of the bass frequencies, bounced in unison in synch with each snippet of movement-inducing rhythm, the brevity of which only seemed to generate yet more frustration. Schacher sees this precise controllability of electronic sound as a technique for connecting the embodied listener/dancer physically with the space of performance; ‘The geographical space, one's own place within that space…and controlled media content can build a perceptual frame of reference that emphasizes the physical presence within the work’ (Schacher, 2012, w/p).…”

Section: Inventing New Sounds and Performancesmentioning

confidence: 99%

Methodological challenges of researching an emerging scene: Experimental electronic music in contemporary Manchester

Taylor

2023

DIY, Alternative Cultures & Society

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The process of researching a music scene retrospectively, even one which has recently formed, rests on a relatively simple ontological foundation; that the scene is broadly agreed – by both participants and observers – to already exist and to be available as an object for study, whether that proceeds on a musicological, sociological or geographical basis. But what if the scene is merely purported, suspected or intuited to be in the process of formation; to be, in some sense, imminent rather that existent? What methods are appropriate to investigating a music scene under such conditions? What constitutes, if not ‘evidence’, then sufficiently persuasive indications that a scene is emerging? These considerations are explored in this article, in the context of the author's early-stage fieldwork into a putative new underground electronic music scene in Manchester, UK, along with reflexive observations on the researcher's insertion into a potential process of scene-formation.

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Section: Inventing New Sounds and Performancesmentioning

confidence: 99%

Methodological challenges of researching an emerging scene: Experimental electronic music in contemporary Manchester

Taylor

2023

DIY, Alternative Cultures & Society

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“…Somatic practices and Somesthetics (Shusterman, 2008) emphasize awareness of the body during movement; the quality is evaluated according to the felt, not necessarily externally perceivable or measurable movement aspects. This poses the question of expertise, which is a large discussion in its own right (Schacher and Neff, 2016b). 17 "In order to discern the mechanics of motion within living movement … it is useful to give a name to the inner function originating such movement.…”

Section: Discrete Unitsmentioning

confidence: 99%

“…The evolution of the piece and the way it "feels" to the author during performance provides a relevant connection to both the "enactive" and the neuroscientific perspectives (Schacher and Neff, 2016b). The insights and reflections gained about the corporeal states inform on a fundamental level how the piece gets structured.…”

Section: Empty Handed Playmentioning

confidence: 99%

Capture and express, question and understand: Gloves in gestural electronic music performance

Schacher

2022

Wearable Technol.

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Gesture-based musical performance with on-body sensing represents a particular case of wearable connection. Gloves and hand-sensing interfaces connected to real-time digital sound production and transformation processes enable empty-handed, expressive musical performance styles. In this article, the origins and developments of this practice as well as a specific use case are investigated. By taking the technical, cognitive, and cultural dimensions of this media performance as foundation, a reflection on the value, limitations, and opportunities of computational approaches to movement translation and analysis is carried out. The insights uncover how the multilayered, complex artistic situations produced by these performances are rich in intersections and represent potent amplifiers for investigating corporeal presence and affective engagement. This allows to identify problems and opportunities of existing research approaches and core issues to be solved in the domain of movement, music, interaction technology, and performance research.

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“…It is now commonly accepted that the live music experience engages multiple complementary processes of low level perception, en-action and embodiment (see Leman & Maes for a review [15]), processing of hierarchical and sequential information [16,13], as well as strong affective and social aspects. This perspective of complementarity is also included in recent studies relative to music produced with DMIs [21]. The evaluation of such a rich experience triggers multiple methodological difficulties.…”

Section: Modulesmentioning

confidence: 99%

Toward Augmented Familiarity of the Audience with Digital Musical Instruments

Capra

Berthaut

Grisoni

2018

Music Technology With Swing

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The diversity and complexity of Digital Musical Instruments often lead to a reduced appreciation of live performances by the audience. This can be linked to the lack of familiarity they have with the instruments. We propose to increase this familiarity thanks to a transdisciplinary approach in which signals from both the musician and the audience are extracted, familiarity analyzed, and augmentations dynamically added to the instruments. We introduce a new decomposition of familiarity and the concept of correspondences between musical gestures and results. This paper is both a review of research that paves the way for the realization of a pipeline for augmented familiarity, and a call for future research on the identified challenges that remain before it can be implemented.

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Skill Development and Stabilisation of Expertise for Electronic Music Performance

Cited by 3 publications

References 37 publications

Methodological challenges of researching an emerging scene: Experimental electronic music in contemporary Manchester

Methodological challenges of researching an emerging scene: Experimental electronic music in contemporary Manchester

Capture and express, question and understand: Gloves in gestural electronic music performance

Toward Augmented Familiarity of the Audience with Digital Musical Instruments

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