Sonification and Music, Music and Sonification
Sonification and Music, Music and Sonification
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可听化与音乐，音乐与可听化
DOI：
10.4324/9781315770567.ch11
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发表时间：
2016
期刊：
影响因子：
--
通讯作者：
Paul Vickers
中科院分区：
文献类型：
--
作者：
Paul Vickers
尽管关于发声的国际会议系列的推出已经有二十多年了，但对于发声到底是什么，特别是它与音乐的关系，仍然存在很大的争议。外行人对可听化的定义可能是，它是使用非语音音频来交流数据，这是可视化的听觉对应。许多研究人员声称他们的发音具有音乐性，通常是在使用数据到音调的映射时。2006年，Bennett Hogg和我(Vickers And Hogg 2006)提出了一个相当挑衅性的断言，将音乐和发声结合在一起(q.v，并在Vickers(2006)中得到进一步发展)，与其说是为了声称本体论真理，不如说是为了突出自1992年第一届国际听觉显示会议(ICAD)以来一直在酝酿的辩论。从那时起，越来越多的音乐和声学艺术作品由自然现象的数据驱动，其中一些被其作者声称是发声。这一章着眼于围绕发声和音乐之间的关系的一些问题，以及有可能将发声和发声艺术更紧密地结合在一起的发展。
Despite it being more than twenty years since the launch of an international conference series dedicated to its study, there is still much debate over what sonification really is, and especially as regards its relationship to music. A layman’s definition of sonification might be that it is the use of non-speech audio to communicate data, the aural counterpart to visualization. Many researchers have claimed musicality for their sonifications, generally when using data-to-pitch mappings. In 2006 Bennett Hogg and I (Vickers and Hogg 2006) made a rather provocative assertion that bound music and sonification together (q.v., and further developed in Vickers (2006)), not so much to claim an ontological truth but to foreground a debate that has simmered since the first International Conference on Auditory Display (ICAD) in 1992. Since then there has been an increasing number of musical and sonic art compositions driven by the data of natural phenomena, some of which are claimed by their authors to be sonifications. This chapter looks at some of the issues surrounding the relationship between sonification and music and at developments that have the potential to draw sonification and the sonic arts into closer union.