Towards Overcoming the Guitar's Color Research Gap

Most (classical) guitar music comes from guitarist-composers. Yet according to guitarists who collaborate with composers, color research on this instrument is better achieved by those who do not play the instrument. Thus the guitar lags behind many instruments in regard to color research. Various reasons can be faulted for the tendency of non-guitarist composers to avoid the instrument. Examples of such reasons may be: the difficulty to write for the instrument, and its weak projection and lack of sustain, all of which are intrinsic to the guitar. This is, however, not the case of the paradigmatic sound for which the instrument is also dismissed, which is rather the legacy of the conservative guitarist Andrés Segovia, who was one of the main promoters of the guitar in the twentieth century. When composers dismiss the guitar for being difficult to write for, collaboration with guitarists has proven fruitful. Given that Segovia's conservatism still prevails among many guitarists, if the sonorous possibilities of the instrument are to be expanded, it is essential that the guitarist is adventurous and has a good arsenal of techniques. New color-research results could entice composers dismissing the guitar for its limitations or its paradigmatic sound to reconsider composing for the instrument. The amplification of sounds with low intensity can be a useful tool to obtain new colors. However, sounds arising from conventional instruments require some caution. It is important to introduce novelty in order to avoid connotation with their respective non-amplified instrument. The technique of multiphonics, which produces sounds of unusual colors, is believed to be a suitable tool when the guitar is amplified with close microphone placement. Through making audible the sounds' components of a lower intensity, this situation would reveal to the audience colors otherwise only heard by the guitarist

DIGITAL SOCK - Study and Development of a Digital Musical Instrument

info:eu-repo/semantics/draf

George Perle’s Twelve–Tone Tonality: some developments for CAC using PWGL

This paper presents a description and some developments on Perle’s theory and compositional system known as Twelve-Tone Tonality, a system that, because of its characteristics and fundamentals, is currently associated with Schoenberg dodecaphonic system. Some research has been made in the last few decades in order to develop his model in a Computer Assisted Composition (CAC) environment. After some efforts in order to analyse these prototypes, we realize that in general they were discontinued or outdated. A three-scope proposal is so outlined: Firstly, to simplify the grasp of a system that presents an easily understandable starting premise but afterwards enters a world of unending lists and arrays of letters and numbers; Secondly, to present the implementation process already started using PWGL [1] (see Laurson, 1996; Laurson, 2003; Laurson, 2009). Finally, the model is applied in a short original compositional work, and it is presented and analysed emphasizing the standpoints properties of the system. Some further considerations were made regarding the continuity of this project where the construction of a dedicated PWGL library of Perle’s model reveals a pre-compositional necessary tool. PWGL software was selected due to its specific fitting features: it is based on Common Lisp - perfectly powerful and suitable to process lists of integers — and it is specialized in CAC

The meaning of expressive gesture and musical gesture: Gesture analysis in the context of the study and development of a digital musical Instrument - Digital Sock

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The Body As Space Transition Relations and Expressive Gesture Design: a brief motion analysis in the context of development of a digital musical instrument (DMI), the DIGITAL SOCK

info:eu-repo/semantics/draf

The body as a transitory space of relationships: DIGITAL SOCK: study and development of a digital musical instrument and its interactive nature

info:eu-repo/semantics/draf

Study and development of digital musical instruments with an emphasis on Gestural Interface, Motion Analysis and Interactivity

info:eu-repo/semantics/draf

Symmetrical and geometrical cycles in twelve-tone composition: developments toward a new model

The development of a pre-compositional model is proposed in this study based on two systems with two design perspectives: Schoenberg's Serialism and Perle's Twelve-Tone Tonality (from now on TTT). Schoenberg's perspective reveals a linear design where the set has functions like those of a motive; on the other hand, Perle's design result in harmonic simultaneities based on symmetric cycles. The authors propose a model for 12-tone composition that assumes an interactive approach between the horizontal and the vertical statements toward a new pre-compositional system based on geometrical and symmetrical issues. This model is being implemented in PWGL for Computer Aided Composition (CAC) in order to assist the extrapolation of the Motivic/Harmonic fundamental requirements of the model. Finally, the empiric outcome produced in the form of musical composition was analyzed, although not presented in its entirety in the scope of this paper.info:eu-repo/semantics/publishedVersio

Composition models for augmented instruments: HASGS as case study

This paper presents the concept of HASGS regarding the augmentation procedures applied to an acoustic instrument, at the same time that it is analyzed how composers applied technology prototyped to the composition of works. The development of HASGS has been driven by the compositional aspects of the original music created for this specific electronic augmented instrumental system. Instruments are characterized not only by their sound and acoustical properties but also by their performative interface and evolutionary repertoire. This last aspect has the potential to establish a practice among performers at the same time as creating the ideal of community contributing to the past, present and future of that instrument. Augmenting an acoustic instrument places some limitations on the designer ́s palette of feasible gestures because of those intrinsic performance gestures, and the existing mechanical interface, which have been developed over years, sometimes, centuries of acoustic practice. We conclude that acoustic instruments and digital technology, are able to influence and interact mutually creating Augmented Musical Performance environments based on the aesthetics of the repertoire being developed. This work is, as well, a resource of compositional methods to composers and programmers.publishe

El cuerpo y el sonido en el desarrollo de las potencialidades interccionales de niños y jóvenes con Necesidades Educativas Especiales

Este artículo propone los resultados de la intervención psicopedagógica, denominada "El Cuerpo y el Sonido: identificando interacciones y nuevos lenguajes". Surge en lo Postgrado en Educación Especial de la Escuela Superior de Educación de Paula Frassinetti (2017), donde investigamos de qué forma los recursos sonoros y sensoriales pueden estimular los procesos de interacción en los niños y jóvenes con Necesidades Educativas Especiales. Este trabajo constituye, incluso, una investigación preliminar para estudiar los ciclos clínicos interaccionales, integrados dentro del Doctorado en Ciencia y Tecnología de las Artes (Universidad Católica Portuguesa – Escola das Artes), donde estamos desarrollando, el prototipo instrumental Digital Sock como estímulo interactivo en intervenciones psicopedagógicas. El marco teórico aborda diferentes modelos psicopedagógicos envolviendo el cuerpo y el sonido, en los que nos basamos para desarrollar un modelo de actuación que vendrá a soportar esta fase de la investigación y el propio prototipo instrumental en desarrollo. Con una combinación metodológica de carácter cuantitativo y cualitativo, asienta esencialmente en la metodología de investigación-acción, donde se priorizó la observación participante como técnica de investigación. Los resultados de la intervención psicopedagógica provienen de niños y jóvenes con necesidades educativas especiales, indicando cuáles son los recursos sonoros y actividades psicomotoras que se configuran como facilitadoras para el desarrollo y expresión comunicacional. Se concluye de la importancia de estas actividades se desarrollaren en un programa a medio y largo plazo, donde la acción colectiva siempre será la más adecuada, proporcionando resultados internacionales más promisorios. Palabras clave: comunicación-expresión, cuerpo-sonido, estímulo sonoro-motor, interactividad, necesidades educativas especiale