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Interactivity in Audio-visual Musical Pieces Based on the Descriptive Language MAX

基于描述性语言MAX的视听音乐作品交互性

基本信息

批准号：
16602009
负责人：
MIZUNO Mikako
金额：
$ 2.43万
依托单位：
Nagoya City University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2004
资助国家：
日本
起止时间：
2004 至 2006
项目状态：
已结题

项目摘要

In this project, pieces of music, interactive musical art, media art including music or sound, sound art with computer were researched in London, Vienna, Linz, Innsbruck, Paris, Tokyo, Kyoto, Nagoya. The research began with analyzing the pieces both as music and as performing art on the stage. Pieces include dance with computer sound and interactive system. Motion, form and their changing process are the expressive parameters both in dance and interactive musical pieces. But in musical pieces the motion or form and their changing process always concern about sounding or musical thinking. So it can be said that interactivity in musical pieces, even if they include interactive audio-visual system, should concentrate musical action, that is, the action of making music, i.e. playing the instruments, voicing, contacting for ensemble etc. In the interactive musical context, performing as instrument playing leads to interactive interface research, performing as voising leads to audio processing as in MAX/msp, and contacting for ensemble leads to integrating system including video effect or motion tracking as well as musical logic which enables human communication in musical pieces. Sounding aspects and communication aspects are discussed as important frameworks for today's situation of human computer interaction. The way how the music data is structured technically and semantically by mapping is reconsidered as the artistic main point in the individual piece. Four musical pieces including the original mapping ideas are examined in the viewpoints of sound gen-erating and communication.

在这个项目中，音乐作品，互动音乐艺术，媒体艺术，包括音乐或声音，声音艺术与计算机在伦敦，维也纳，林茨，因斯布鲁克，巴黎，东京，京都，名古屋进行了研究。这项研究首先分析了作为音乐和舞台表演艺术的作品。作品包括与电脑声音和互动系统的舞蹈。动作、形式及其变化过程是舞蹈和互动音乐作品的表现参数。但在音乐作品中，运动或形式及其变化过程往往与发声或音乐思维有关。因此，可以说，音乐作品中的交互性，即使它们包括交互式视听系统，也应该集中于音乐动作，即制作音乐的动作，即演奏乐器，发声，接触合奏等。在交互式音乐环境中，作为乐器演奏的表演导致交互界面研究，作为发声的表演导致MAX/MSP中的音频处理，并且用于合奏的接触导致包括视频效果或运动跟踪以及音乐逻辑的集成系统，其使得能够在音乐作品中进行人类交流。声音方面和通信方面的讨论，为今天的人机交互的情况下的重要框架。音乐数据如何通过映射在技术上和语义上进行结构化的方式被重新考虑为单个作品的艺术要点。本文从声音生成和传播的角度对四首包含原始映射思想的音乐作品进行了分析。