Motion in sound designing sound for interactive dance performance
Download
1 / 28

Motion in Sound: Designing Sound for Interactive Dance Performance - PowerPoint PPT Presentation


  • 239 Views
  • Updated On :

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.

loader
I am the owner, or an agent authorized to act on behalf of the owner, of the copyrighted work described.
capcha
Download Presentation

PowerPoint Slideshow about 'Motion in Sound: Designing Sound for Interactive Dance Performance' - Gideon


An Image/Link below is provided (as is) to download presentation

Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author.While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server.


- - - - - - - - - - - - - - - - - - - - - - - - - - E N D - - - - - - - - - - - - - - - - - - - - - - - - - -
Presentation Transcript
Motion in sound designing sound for interactive dance performance l.jpg

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 l.jpg
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


Objectives l.jpg
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


General system overview l.jpg
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


Overview w bad clipart l.jpg
Overview w/ bad clipart

video computer

audio computer

ethernet


Sound generation software l.jpg
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


Video analysis software l.jpg
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!


Objectives redux l.jpg
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


Definitions 1 l.jpg
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


Definitions 2 l.jpg
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


Definitions 3 l.jpg
Definitions (3)

  • Scene: a group of motion parameters, sound elements, and mappings between them


Eyecon interface 1 l.jpg
EyeCon Interface (1)

Field: can measure height or width or dynamic or…

Touchlines: detect crossing and position on line


Eyecon interface 2 l.jpg
EyeCon Interface (2)

Fields and lines are mapped to MIDI data (or OSC)

Sequencer steps through “scenes”


Taxonomy of motion parameters l.jpg
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


Parameter type examples l.jpg
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


Primary secondary mappings l.jpg
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


Sound element mappings 1 l.jpg
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)


A human conversation l.jpg
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


Sound element mappings 2 l.jpg
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)


Perceivable bodies l.jpg
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


Slide21 l.jpg

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/