Gesture Capture

Sound Production and Manipulation [SPM]  >  Electroacoustic Devices  >  Data Tracking  ]

Gesture capture has recently witnessed a considerable expansion as an area of technological research. In musical terms, the concept of gesture capture is a simple one that nevertheless has an enormous range of creative applications. Gesture capture may be used to refer to the tracking of the physical actions of a musical performer of an acoustic instrument (key movements, finger action, breath control and so on) or of an electronic instrument (where performance information may be mapped elsewhere to creative ends). Gesture capture may also be used to describe any system that analyses acoustic data to glean information concerning musical performance. In interactive works, the information ’captured’ in such a process is mapped in such a way as to have an effect on some other aspect of the performance, for example the real-time processing or synthesis of other musical material. It may also be used to describe any system that tracks visual movements through optical means.

Gesture capture is not restricted to the physical actions of musicians. The gestures of dancers, for example, could be ’translated’ to create or have an affect on electroacoustic music.

 

See also:

Interactive Instruments, Interactivity, Interface

 

Bibliography:

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Alphabetical order - Chronological order

Allen, J. Anthony (2004). Playing with Fire: An unexpected collaboration
Ashley, Richard (1991). Two Reponses
Battier, Marc (1999a). L’approche gestuelle dans l’histoire de la lutherie électronique. Étude de cas : le theremin
Burtner, Matthew (2005). Ecoacoustic and Shamanic Technologies for Multimedia Composition and Performance
Cadoz, Claude (1988). Instrumental Gesture and Musical Composition
Cadoz, Claude (1999). Musique, geste, technologie
Cerena, Carlos (2000). Gesture Control of Musical Processes: A MAX environment for Buchla’s ‘Lightning’
Essl, Georg (2003). On Gender in New Music Interface Technology
Hahn, Tomie, Bahn, Curtis (2002). {Pikapika} - The collaborative composition of an interactive sonic character
Krefeld, Volker (1990). The Hand in the Web: An Interview with Michel Waisvisz
Landy, Leigh, Jamieson, Evelyn, Ng, Kia (2003). {In Transit} or Realising One’s Aesthetic when the Technology Finally Catches Up
Marrin, Teresa, Paradiso, Joseph (1997). The Digital Baton: A Versatile Performance Instrument
Marrin, Teresa, Picard, Rosalind (1998). The “Conductors Jacket”: A Device for Recording Expressive Musical Gestures
Mulder, Axel (1996). Getting a Grip on Alternate Controllers: Addressing the Variability of Gestural Expression in Musical Instrument Design
Ng, Kia (2002). Sensing and Mapping for Interactive Performance
Nichols, Charles (2002). The vBow: A virtual violin bow controller for mapping gesture to synthesis with haptic feedback
Pascal, Michel (1999). Le studio instrumental : les données d’une virtuosité à l’intérieur même du son
Poepel, Cornelius, Overholt, Dan (2006). Recent Developments in Violin-Related Digital Musical Instruments: Where Are We and Where Are We Going?
Rubine, Dean, McAvinney Paul, (1990). Programmable Finger-tracking Instrument Controllers
Wilson, Julie A., Bromwich, Mark A. (2000). {Lifting Bodies}: Interactive dance - finding new methodologies in the motifs prompted by new technology - a critique and progress report with particular reference to the Bodycoder System

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