Musical gestures: Concepts and methods in research

Musical Gestures: Sound, Movement, and Meaning

Volumn , Issue , 2009, Pages 12-35

  Jensenius, Alexander Refsum ^a   Wanderley, Marcelo M ^b   Inge, Rolf Godøy ^a   Leman, Marc ^c  

^a UNIVERSITY OF OSLO   (Norway)

^b MCGILL UNIVERSITY   (Canada)

^c GHENT UNIVERSITY   (Belgium)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 84909057783     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.4324/9780203863411     Document Type: Chapter

References (68)

1. Birnbaum, D., Fiebrink, R., Malloch, J., and Wanderley, M. M. (2005). Towards a dimension space for musical artifacts. In Proceedings of the International Conference on New Interfaces for Musical Expression (NIME '05). Vancouver, BC, Canada, 192-195.
2. Bouënard, A., Gibet, S., and Wanderley, M. M. (2008a). Enhancing the visualization of percussion gestures by virtual character animation. In Proceedings of the International Conference on New Interfaces for Musical Expression (NIME '08). Genova, Italy, 38-43.
3. Bouënard, A., Wanderley, M. M., and Gibet, S. (2008b). Analysis of percussion grip for physically based character animation. In Proceedings of the 5th International Conference on Enactive Interfaces (ENACTIVE '08). Pisa, Italy, 22-27.
4. Buxton, W. (1986). Chunking and phrasing and the design of human-computer dialogues. In H.-J. Kugler (ed.), Information Processing 86, Proceedings of the IFIP 10th World Computer Congress. Dublin, Ireland, 475-480.
5. Cadoz, C. (1988). Instrumental gesture and musical composition. In Proceedings of the 1998 International Computer Music Conference. The Hague, The Netherlands, 60-73.
6. Cadoz, C. and Wanderley, M. M. (2000). Gesture - Music. In M. M. Wanderley and M. Battier (eds.), Trends in Gestural Control of Music [CD-ROM]. Paris, France: IRCAM, 71-93.
7. Campbell, L., Chagnon, M.-J., and Wanderley, M. M. (2005). On the use of Laban-Bartenieff techniques to describe ancillary gestures of clarinetists. Research report. IDMIL, McGill University.
8. Camurri, A., De Poli, G., Leman, M., and Volpe, G. (2001). A multi-layered conceptual framework for expressive gesture applications. In Proceedings of the International MOSART Workshop, November 2001. Barcelona, Spain.
9. Camurri, A., Volpe, G., De Poli, G., and Leman, M. (2005). Communicating expressiveness and affect in multimodal interactive systems. IEEE Multimedia, 12(1), 43-53.
10. Casciato, C., Jensenius, A. R. and Wanderley, M. M. (2005). Studying free dance movement to music. In Proceedings of ESCOM 2005 Performance Matters! Conference. Porto, Portugal.
11. Clarke, E. (1993). Generativity, mimesis and the human body in music performance. Contemporary Music Review, 9(1), 207-219.
12. Clarke, E. (1999). Rhythm and timing in music. In D. Deutsch (ed.), The Psychology of Music. San Diego: Academic Press, 473-500.
13. Coker, W. (1972). Music and Meaning: A Theoretical Introduction to Musical Aesthetics. New York: Free Press.
14. Davidson, J. (1993). Visual perception and performance manner in the movements of solo musicians. Psychology of Music, 21(2), 103-113.
15. Davidson, J. (1994). Expressive movements in musical performance. In Proceedings of the Third International Conference on Music Cognition (ESCOM). Liège, Belgium, 327-329.
16. Delalande, F. (1988). La gestique de Gould: élements pour une sémiologie du geste musical. In G. Guertin (ed.), Glenn Gould Pluriel. Québec: Louise Courteau, 85-111.
17. Ekman, P. and Friesen, W. V. (1969). The repertoire of nonverbal behavior: categories, origins, usage, and coding. Semiotica, 1, 49-98.
18. Feyereisen, P. and de Lannoy, J.-D. (1991). Gestures and Speech: Psychological Investigations. Cambridge: Cambridge University Press.
19. Gabrielsson, A. (1985). Interplay between analysis and synthesis in the studies of music performance and music experience. Music Perception, 3(1), 59-86.
20. Gibet, S. (1987). Codage, Représentation et Traitement du Geste Instrumental: Application à la Synthèse de Sons Musicaux par Simulation de Mécanismes Instrumentaux. PhD thesis, Institut National Polytechnique de Grenoble.
21. Godøy, R. I. (2008). Reflections on chunking in music. In A. Schneider (ed.), Systematic and Comparative Musicology: Concepts, Methods, Findings. Frankfurt am Main, Germany: Peter Lang, 117-132.
22. Godøy, R. I., Haga, E., and Jensenius, A. R. (2006a). Exploring music-related gestures by sound-tracing: a preliminary study. In K. Ng (ed.), Proceedings of the COST287-ConGAS 2nd International Symposium on Gesture Interfaces for Multimedia Systems. Leeds, UK, 27-33.
23. Godøy, R. I., Haga, E., and Jensenius, A. R. (2006b). Playing "air instruments": mimicry of sound-producing gestures by novices and experts. In S. Gibet, N. Courty, and J.-F. Kamp (eds.), Gesture in Human-Computer Interaction and Simulation, LNAI 3881. Berlin, Heidelberg, Germany: Springer, 256-267.
24. Graham, T. C. N., Watts, L. A., Calvary, G., Coutaz, J., Dubois, E., and Nigay, L. (2000). A dimension space for the design of interactive systems within their physical environments. In Proceedings of the Conference on Designing Interactive Systems (DIS '00). New York, 406-416.
25. Gritten, A. and King, E., (eds.) (2006). Music and Gesture. Aldershot, UK: Ashgate.
26. Haga, E. (2008). Correspondences Between Music and Body Movement. PhD thesis, University of Oslo.
27. Hatten, R. S. (2003). Musical gesture: Theory and interpretation. course notes, Indiana University. http://www.indiana.edudeanfac/blfal03/mus/mus_t561_9824.html (accessed 1 June 2007).
28. Hatten, R. S. (2004). Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert. Bloomington, IN: Indiana University Press.
29. Hatten, R. S. (2006). A theory of musical gesture and its application to Beethoven and Schubert. In A. Gritten and E. King (eds.), Music and Gesture. Aldershot, UK: Ashgate, 1-23.
30. Hodgins, P. (1992). Relationships Between Score and Choreography in Twentieth Century Dance: Music, Movement and Metaphor. Lewiston, NY: Edwin Mellen Press.
31. Jensenius, A. R. (2006). Using motiongrams in the study of musical gestures. In Proceedings of the 2006 International Computer Music Conference. New Orleans, LA, 499-502.
32. Jensenius, A. R. (2007). Action-Sound: Developing Methods and Tools to Study Music-Related Body Movement. PhD thesis, University of Oslo.
33. Kendon, A. (1972). Some relationships between body motion and speech. In A. Siegman and E. Pope (eds.), Studies in Dyadic Communication. New York: Pergamon Press, 177-210.
34. Kendon, A. (1980). Gesticulation and speech: two aspects of the process of utterance. In M. Key (ed.), The Relationship Between Verbal and Nonverbal Communication. The Hague, The Netherlands: Mouton Publishers, 207-227.
35. Kendon, A. (1982). The study of gesture: some remarks on its history. Recherches Sémiotiques/Semiotic Inquiry, 2, 45-62.
36. Kendon, A. (2004). Gesture: Visible Action as Utterance. Cambridge: Cambridge University Press.
37. Kurtenbach, G. and Hulteen, E. A. (1990). The art of human-computer interface design. In B. Laurel (ed.), Gestures in Human-Computer Communication. Reading, PA: Addison Wesley, 309-317.
38. Kvifte, T. (1989). Instruments and the Electronic Age. Towards a Terminology for a Unified Description of Playing Techniques. Oslo, Norway: Solum Forlag.
39. Laban, R. v. (1963). Modern Educational Dance. London: Macdonald and Evans Ltd.
40. Leman, M. (2008a). Embodied Music Cognition and Mediation Technology. Cambridge, MA: MIT Press.
41. Leman, M. (2008b). Systematic musicology at the crossroads of modern music research. In A. Schneider (ed.), Systematic and Comparative Musicology: Concepts, Methods, Findings. Frankfurt am Main, Germany: Peter Lang, 89-115.
42. Leman, M., Desmet, F., Styns, F., Van Noorden, L., and Moelants, D. (2009). Sharing musical expression through embodied listening: a case study based on Chinese guqin music. Music Perception, 26(3), 263-278.
43. Liberman, A. M. and Mattingly, I. G. (1985). The motor theory of speech perception revised. Cognition, 21(1), 1-36.
44. McNeill, D. (1992). Hand and Mind: What Gestures Reveal About Thought. Chicago, IL: University of Chicago Press.
45. McNeill, D. (ed.) (2000). Language and Gesture. Cambridge: Cambridge University Press.
46. McNeill, D. (2005). Gesture and Thought. Chicago, IL: University of Chicago Press.
47. Métois, E. (1997). Musical Sound Information: Musical Gestures and Embedding Synthesis. PhD thesis, Massachusetts Institute of Technology.
48. Middleton, R. (1993). Popular music analysis and musicology: bridging the gap. Popular Music, 12(2), 177-190.
49. Miranda, E. R. and Wanderley, M. M. (2006). New Digital Musical Instruments: Control and Interaction Beyond the Keyboard. Middleton, WI: A-R Editions, Inc.
50. Naveda, L. and Leman, M. (2008a). Representation of samba dance gestures, using a multi-modal analysis approach. In Proceedings of the 5th International Conference on Enactive Interfaces (ENACTIVE '08). Pisa, Italy, 68-74.
51. Naveda, L. and Leman, M. (2008b). Sonification of samba dance using periodic pattern analysis. In A. Barbosa (ed.), Proceedings of the 4th International Conference on Digital Arts (ARTECH '08). Porto, Portugal, 16-26.
52. Naveda, L. and Leman, M. (in press). A cross-modal heuristic for periodic pattern analysis of samba music and dance. Journal of New Music Research.
53. Noë, A. (2004). Action in Perception. Cambridge, MA: MIT Press.
54. Phillips-Silver, J. and Trainor, L. J. (2008). Vestibular influence on auditory metrical interpretation. Brain and Cognition, 67(1), 94-102.
55. Pierce, A. and Pierce, R. (1989). Expressive Movement: Posture and Action in Daily Life, Sports, and the Performing Arts. Cambridge, MA: Perseus Publishing.
56. Quek, F., McNeill, D., Bryll, R., Duncan, S., Ma, X.-F., Kirbas, C., McCullough, K., and Ansari, R. (2002). Multimodal human discourse: gesture and speech. ACM Transactions on Computer-Human Interaction (TOCHI), 9(3), 171-193.
57. Quek, O., Verfaille, V., and Wanderley, M. M. (2006). Sonification of musician's ancillary gesutres. In Proceedings of the 12th International Conference on Auditory Display, London, UK, 194-197.
58. Ramstein, C. (1991). Analyse, Représentation et Traitement du Geste Instrumental. PhD thesis, Institut National Polytechnique de Grenoble, France.
59. Sacks, H. and Schegloff, E. (2002). Home position. Gesture, 2(2), 133-146.
60. Shaffer, L. H. (1980). Analyzing piano performance: a study of concert pianists. In G. Stelmach and P. Vroon (eds.), Tutorial in Motor Behaviour. Amsterdam: North-Holland, 443-456.
61. Todd, N. P. M. (1995). The kinematics of musical expression. The Journal of the Acoustical Society of America, 97(3), 1940-1949.
62. Varela, F. J., Rosch, E., and Thompson, E. (1992). The Embodied Mind: Cognitive Science and Human Experience. Cambridge, MA: MIT Press.
63. Wanderley, M. M. (1999). Non-obvious performer gestures in instrumental music. In A. Braffort, R. Gherbi, S. Gibet, J. Richardson, and D. Teil (eds.), Gesture-Based Communication in Human-Computer Interaction. International Gesture Workshop, LNAI 1739. Berlin, Heidelberg, Germany: Springer, 37-48.
64. Wanderley, M. M. (2001). Performer-Instrument Interaction: Applications to Gestural Control of Sound Synthesis. PhD thesis, Université Pierre et Marie Curie, Paris VI.
65. Wanderley, M. M. (2002). Quantitative analysis of non-obvious performer gestures. In I. Wachsmuth and T. Sowa (eds.), Gesture and Sign Language in Human-Computer Interaction: International Gesture Workshop, LNAI 2298. Berlin, Heidelberg: Springer, 241-253.
66. Wanderley, M. M. and Depalle, P. (2004). Gestural control of sound synthesis. Proceedings of the IEEE, 92(4), 632-644.
67. Wanderley, M. M., Vines, B. W., Middleton, N., McKay, C., and Hatch, W. (2005). The musical significance of clarinetists' ancillary gestures: an exploration of the field. Journal of New Music Research, 34(1), 97-113.
68. Zhao, L. (2001). Synthesis and Acquisition of Laban Movement Analysis Qualitative Parameters for Communicative Gestures. PhD thesis, CIS, University of Pennsylvania, Philadelphia, PA.