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Motion in Sound: Designing Sound for Interactive Dance Performance

Motion in Sound: Designing Sound for Interactive Dance Performance. Dr. Dan Hosken Associate Professor of Music California State University, Northridge. Presented at: ATMI 2006 San Antonio, TX September 16, 2006. Purpose.

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Motion in Sound: Designing Sound for Interactive Dance Performance

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  1. Motion in Sound: Designing Sound for Interactive Dance Performance Dr. Dan Hosken Associate Professor of Music California State University, Northridge Presented at: ATMI 2006 San Antonio, TX September 16, 2006

  2. Purpose • Present a somewhat simplified and useful approach to creating for the interactive dance medium • Facilitate collaboration between students of dance and students of music

  3. Objectives: • Give an overview of the hardware and software components of a camera-based interactive dance/music system • Present a loose taxonomy of motion parameters and mapping types • Suggest some useful mappings between motion parameters and sound element parameters • Illustrate these mappings using examples of my recent work with the Palindrome IMPG

  4. General System Overview • Camera trained on dancer(s) is connected to computer • Video Analysis Software abstracts motion data in realtime • Motion Data are passed to Sound Software • Sound Software maps incoming motion data to sound element parameters in realtime

  5. Overview w/ bad clipart video computer audio computer ethernet

  6. Sound Generation Software • Max/MSP (Cycling ‘74) • PD (Miller Puckette)—free! • Supercollider (J. McCartney)—free! • Reaktor (Native Instruments) • …and any software that can receive data and produce sound in realtime

  7. Video Analysis Software • EyeCon (Frieder Weiss) • EyesWeb (eyesweb.org)—free! • Jitter (Cycling ‘74) • SoftVNS (David Rokeby) • Cyclops (Eric Singer/Cycling ‘74) • TapTools (Electrotap) • cv.jit (Jean-Marc Pelletier) • Eyes (Rob Lovel)—free!

  8. Objectives (redux): • Give an overview of the hardware and software components of a camera-based interactive dance/music system • Present a loose taxonomy of motion parameters and mapping types • Suggest some useful mappings between motion parameters and sound element parameters • Illustrate these mappings using examples of my recent work with the Palindrome IMPG

  9. Definitions (1) • Motion Parameter: made up of specified data abstracted from part or all of video, e.g., • Height • Width • Dynamic • Sound Element: a distinct, coherent sonic behavior created by one or more synthesis or processing techniques, e.g., • A Low Drone created by FM Synthesis • Time-stretched text created by Granulation • Percussive patterns created by Sample Playback

  10. Definitions (2) • Sound Element Parameter: a parameter of a synthesis/processing technique, e.g., • Modulation Frequency of a simple FM pair • Grain Size of a granulated sound file • Ir/regularity of tempo in a rhythmic pattern • Mapping: the connection between a motion parameter and a sound element parameter, e.g., • Heightmodulation frequency of FM • Widthgrain size of granulated sound file • DynamicIrregularity of tempo

  11. Definitions (3) • Scene: a group of motion parameters, sound elements, and mappings between them

  12. EyeCon Interface (1) Field: can measure height or width or dynamic or… Touchlines: detect crossing and position on line

  13. EyeCon Interface (2) Fields and lines are mapped to MIDI data (or OSC) Sequencer steps through “scenes”

  14. Taxonomy of Motion Parameters • Body Parameters: position independent, “attached” to body • Height • Width • Dynamic • Stage Parameters: position dependent, “attached” to stage • Left-right position • Touchlines • Extremely Narrow Fields

  15. Parameter Type Examples • Stage Parameter (position): Scene 3 from Brother-Sister Solo • Julia Eisele, dancer/choregrapher • Stuttgart, June 2005 • Body Parameter (Dynamic): Conversation • Robert Wechsler, dancer/choreographer • Julia Eisele, dancer • Stuttgart, June 2005

  16. Primary/Secondary Mappings • Primary Mapping: controls dominant sonic feature • Secondary Mapping: …is secondary… • Example: Scene 3 from Brother-Sister Solo • Primary mapping: positionposition in sound “landscape” • Secondary mapping: dynamicdisturbance of drone • Secondary mapping: widthloop size/speed of segment within sound file

  17. Sound Element mappings (1) • A Human Conversation (in progress) • Scene 7-8: • DynamicGranulated Text (playback rate) • Scene 9: • Dynamic (left)Granulated Text (playback rate) • Dynamic (right)Granulated Text (playback rate)

  18. A Human Conversation • Robert Wechsler (Palindrome), choreographer/dancer • J’aime Morrison (CSUN), choreographer/dancer • Dan Hosken, composer and sound programmer • Work session, CSUN, June 23, 2006

  19. Sound Element mappings (2) • Perceivable Bodies (Emily Fernandez) • Scene 3a: • PositionGranulated Text (position in file) [Primary] • WidthGranulated Text (grain duration) • DynamicLow FM Drone (mod frequency) • Scene 3b: • PositionPhase Voc File (position in file) [Primary] • WidthPhase Voc file (loop length/rate) • DynamicLow FM Drone (mod frequency) • Scene 4: • DynamicGranulated Noise (density) [Primary] • DynamicGranulated Noise (position in file)

  20. Perceivable Bodies • Emily Fernandez, choreographer/dancer • Frieder Weiss, projections and interactive programming • Dan Hosken, composer and sound programmer • World Premiere at Connecticut College, April 1, 2006

  21. dan.hosken@csun.edu Examples shown can be found: http://www.csun.edu/~dwh50750/Papers-Presentations/ Full Pieces can be found: http://www.csun.edu/~dwh50750/Music/ Other Examples of Palindrome’s work: http://www.palindrome.de/

  22. Max/MSP Screenshot

  23. PD Screenshot

  24. Reaktor Screenshots

  25. Eyecon Screenshot

  26. EyesWeb Screenshot

  27. Jitter Screenshot

  28. Cyclops Screenshot

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