What Is CIRMMT?
A Place Where Music, Science and Technology Thrive
Prof. Stephen McAdams
Prof. Sean Ferguson
Prof. Marcelo Wanderley
Is there a correlation between a
musician's movements and the audience's reaction?
The main answer is a
resounding "Yes!" It has been shown that the perceived musical
tension in a performance is a combination of hearing the
performer and seeing them move expressively. The main component
is the auditory input, but the visual input can inflect the
auditory-based musical tension, making it momentarily greater or
lesser depending on how the performer sways as they are playing.
Our experience in designing gestural controllers for new digital
musical instruments has also shown us that there needs to be a
correlation between the types of gestures used and the audible
result. One important factor is that there should be a
relationship in the audience's mind between changes in sound and
gesture. When gestures don't seem to result in any change in the
sound, or when changes in sound don't seem to be accompanied by
a deliberate gesture, audiences tend to feel confused and the
effectiveness of the instrument for concert use is diminished.
2 – Would you please
define multi-channel audio?
is the diffusion of sound over more than one loudspeaker. Stereo
is two-channel audio. The popular Dolby 5.1 system that
accompanies many DVD players today is six-channel audio, with
one speaker straight aheadm two in front to the left and right,
two in the rear to the left and right, and an additional
low-frequency woofer for vibrations. In concerts at the Schulich
School of Music, sound systems that do not correspond to these
commercial formats are often used. The number of speakers and
their placement in the hall can change from piece to piece,
depending on the composer's wishes. In a recent performance of a
piece for eight discrete channels of sound, one of the speakers
was even located offstage in the wings! In an upcoming research
project of which we are all members, a system to diffuse
twenty-four channels of audio in live performance under the
gestural control of performers is being developed. A new piece
will be performed using this system in the spring of 2008.
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