Electroacoustic Music As Embodied Cognit PDF

ELECTROACOUSTIC MUSIC AS
EMBODIED COGNITIVE PRAXIS

DENIS SMALLEY’S THEORY OF
SPECTROMORPHOLOGY AS AN IMPLICIT
THEORY OF EMBODIED COGNITION
Brian Bridges, Ulster University, Northern Ireland

Ricky Graham, Stevens Institute of Technology, NJ, USA
EMS2015
University of Sheffield
OUTLINE
1. INTRODUCTION: CONNECTING THE DISCOURSES OF
ELECTROACOUSTIC MUSIC AND COGNITIVE SCIENCE
2. EMBODIED–ECOLOGICAL MODELS: COMPARING

EMBODIED IMAGE SCHEMA THEORY (LAKOFF AND JOHNSON)
WITH SPECTROMORPHOLOGY
3. SOUNDED AFFORDANCES: BEYOND CANONICAL

IMAGE SCHEMAS TO THE ATTRIBUTES OF SOUNDED GESTURE–
TEXTURES IN ELECTROACOUSTIC MUSIC
4. FORMS, DIMENSIONS AND COMBINATIONS: HOW

SCHEMAS AND THEIR ATTRIBUTES MAY RELATE TO FORM
(HOPEFULLY!) SOME CONCLUSIONS

1. INTRODUCTION: ENVIRONMENTAL
MATERIALS, STRUCTURES, DISCOURSES
• Environmental materials in music & ‘bottom–up’ revolution in cognitive sci.
e.g. two modes/models of ‘perception and cognition’



‘top–down’
‘top–down’ ‘bottom–up’

formal model

formal model
note
distances,
no. of points, etc.

formal model
note
distances,
no. of points, etc.
match to known
template

formal model
note
distances,
no. of points, etc.
match to known
template
then (maybe)
interact ‘top–down’ ‘bottom–up’

formal model object with
affordances
note
distances,
no. of points, etc.
match to known
template
then (maybe)

affordances
note
distances, key features are
no. of points, etc. obvious...
environment
match to known guides cognition
template
then (maybe)

affordances
note
environment
template
=> watch
then (maybe)
interact ‘top–down’ ‘bottom–up’ out for sharp
edges!
• From reduced listening to source–bonding and sonic–gestural ecologies

affordances
note
environment
template
=> watch
then (maybe)
edges!
• From reduced listening to source–bonding and sonic–gestural ecologies
• Sound gestures, ecological/embodied grammars, spectromorphology

affordances
note
environment
template
=> watch
then (maybe)
edges!
tonal center (e.g. triadic) will cause movement of voices domains, facilitating accessible and immersive designs for NIME.
towards the center. More tonally distant materials (e.g. Schacher et al. [13] use the term ecological relationships for a
chromatic) will cause movement towards the periphery. Many related idea, the blending of human interaction gestures and
musicians will be familiar with these general structuring
principles of tonal relationships in common practice music and
will recognize the flocking behaviors as broadly predictable
2. EMBODIED–ECOLOGICAL: IMAGE
the experience. Continuous repetitive movement such as making a circling motion with
one's head produces a pronounced degree of cyclical individuation/arpeggiation123 ofone's

a head produces a pronounced degree of cyclical individuation/arpeggiation123 of a
number of the higher voices. In addition, a repetition of Gann's experiment of tugging

system responses.
Brower [2,3] and Johnson [8] have previously applied image
schema theories to tonal music. They have also been
SCHEMAS AND SPECTROMORPHOLOGY
on an earlobe does bring about perceptible changes of a high frequency (but pitched)on an earlobe does bring about perceptible changes of a high frequency (but pitched)
and related to their own understanding of musical component (perhaps in the region of 4 kHz). In summary, there appear to be a number
component (perhaps in the region of 4 kHz). In summary, there appear to be a number
of acoustical factors which influence the perception of the frequency structures of of acoustical factors which influence the perception of the frequency structures of
investigated for their practical significance in music software
macrostructures. Thus, the use of embodied correlates between Young's installations in various ways. These factors are summarised in figure 30, below.
Young's installations in various ways. These factors are summarised in figure 30, below.
design [16,17]. Some of the key basic image schemas are
input and output provides a means of managing emergent illustrated below (figure 3).
• Cross–domain
complexity via mapping: image
conceptual mapping [4,7,14,16].
the experience. Continuous repetitive movement such as making a circling motion with the experience. Continuous repetitive movement such as making a circling motion with
one's head produces a pronounced degree of cyclical individuation/arpeggiation123 of a one's head produces a pronounced degree of cyclical individuation/arpeggiation123 of a
number of the higher voices. In addition, a repetition of Gann's experiment of tugging number of the higher voices. In addition, a repetition of Gann's experiment offorce
tuggingof
schemas (Lakoff and Johnson) as

on an earlobe does bring about perceptible changes of a high frequency (but pitched)

An Ecological Melodic !
on an earlobe does bring about perceptible changes of a high frequency (but gravity
pitched)
common sensorimotor patterns

Pitch Space Young's installations in various ways. These factors are summarised in figure 30, below.
high tendency values
low melodic !
‘imported into cognition’

attraction (expectancy-
mapped to X
speed ‘matching instinct’
tension) (e.g. pc1 ->
the experience. Continuous repetitive pc6) such as making a circling motion with
movement the experience. Continuous repetitive movement such as making a circling motion with
steering behaviors
flock towards periphery
one's head produces a pronounced degree of cyclical individuation/arpeggiation123 of a relative to neighboring
one's head produces a pronounced degree of cyclical individuation/arpeggiation123 of a
high implicative denial values
boids (e.g. pc 2number
-> pc0)
of the higher voices. In addition, a repetition of Gann's experiment of tugging
Figure 30: The relationship between source material, room, listener HRTF and the Figure 30: The relationship between source material, room, listener HRTF and the
• Image schemas (and related ideas)

on an earlobe does bring about perceptible changesresulting
of a highpercept
frequency (but pitched)
in Young's sound installations resulting percept in Young's sound installations on an earlobe does bring about perceptible changes of a high frequency (but pitched)
component (perhaps in the region of 4 kHz). In summary, there appear to be a number component (perhaps in the region of 4 kHz). In summary, there appear to be a number
of acoustical factors which influence the perception of the frequency structures of VERTICALITY
of acoustical factors which influence the perception of the frequency structures of CENTRE–PERIPHERY
CENTER–PERIPHERY CONTAINER
Young's installations in various ways. These factors
123
in music research:
are summarised in figure 30, below.
This occurs because of the application of what Bregman (1990) terms the 'old-plus-new heuristic’. 123
207
This occurs because of the application of what Bregman (1990) terms the 'old-plus-new heuristic’.
207
• Brower (2000); Adlington (2003)

• Godøy (2003; 2006)
8ve
X
one'sroom,
Figure 30: The relationship between source material,
•
headlistener
producesHRTF
Kendall and Ardillia (2008)
a pronounced
and the degree of cyclical individuation/arpeggiation
123
ofone's
a head produces a pronounced degree of cyclicalFigure
individuation/arpeggiation 123
of a source material, room, listener HRTF and the
30: The relationship between
Wilkie et. al. (2010)

number of the higher voices. In addition, a repetitionresulting
of Gann'spercept
experiment of tugging
•
resulting percept in Young's sound installations in Young's sound installations
• Our own previous work (2013–15)

Roddy and Furlong (2014)

•
123 123
This occurs because of the application of what Bregman (1990) terms the 'old-plus-new heuristic’. This occurs because of the application of what Bregman (1990) terms the 'old-plus-new heuristic’.
207 These factors are summarised in figure 30, below.
Young's installations in various ways. Young's installations in various ways. These factors are summarised in figure 30, below. 207
• Barrett (2015) high melodic !

attraction (e.g. pc1 -> pc0)
flock towards center CYCLE SOURCE––PATH––GOAL
Figure 30: The relationship between source material, room, listener HRTF and the
resulting percept in Young's sound installations


Figure 3: Key embodied image schemas
Key Q: Is spectromorphology •
These image schemas may be applied to goal–oriented tonal
compatible with image schema Major Ionian Framework!
123 123
207 207
‘Ionian Space’
tension/release (center–periphery, container, source–path–
theory?
Figure 2: Dynamic tonal–spatial mappings of initial system goal) or cyclical structures,
BALANCE along with hierarchical pitch
iteration, ‘animating’ a tonal hierarchy and attraction relationships (verticality). [2,3] suggest common practice tonal
model derived from Lerdahl [10,11] using a boids algorithm
resulting percept in Young's sound installations resulting percept in Young's sound installations
structures may be based
Image schemas: on these image
embodied schemas].
conceptual Our previous
metaphors
to control the spatialization of voices work [6] has attempted to unify these ideas with cognitively–
123
This occurs because of the application of what Bregman (1990) terms the 'old-plus-new heuristic’.123 This occurs because of the application of what Bregman (1990) terms the 'old-plus-new heuristic’.
207 207
based theories of tonality [10,11], culminating in the tonal–
These approaches have provided the basis for a further spatial mappings discussed above, which adopt center–
tonal center (e.g. triadic) will cause movement of voices domains, facilitating accessible and immersive designs for NIME.
towards the center. More tonally distant materials (e.g. Schacher et al. [13] use the term ecological relationships for a
chromatic) will cause movement towards the periphery. Many related idea, the blending of human interaction gestures and
musicians will be familiar with these general structuring
principles of tonal relationships in common practice music and
2. EMBODIED–ECOLOGICAL: IMAGE


system responses.
SCHEMAS AND SPECTROMORPHOLOGY
and related to their own understanding of musical component (perhaps in the region of 4 kHz). In summary, there appear to be a number
investigated for their practical significance in music software
macrostructures. Thus, the use of embodied correlates between Young's installations in various ways. These factors are summarised in figure 30, below.
design [16,17]. Some of the key basic image schemas are
• Cross–domain
complexity via mapping: image
conceptual mapping [4,7,14,16].
one's head produces a pronounced degree of cyclical individuation/arpeggiation123 of a one's head produces a pronounced degree of cyclical individuation/arpeggiation123 of a
tuggingof
schemas (Lakoff and Johnson) as


pitched)
common sensorimotor patterns

Pitch Space Young's installations in various ways. These factors are summarised in figure 30, below.
low melodic !
‘imported into cognition’

mapped to X
tension) (e.g. pc1 ->
the experience. Continuous repetitive pc6) such as making a circling motion with
movement the experience. Continuous repetitive movement such as making a circling motion with
steering behaviors
high implicative denial values
boids (e.g. pc 2number
-> pc0)
• Image schemas (and related ideas)

of a highpercept
of acoustical factors which influence the perception of the frequency structures of VERTICALITY
of acoustical factors which influence the perception of the frequency structures of CENTRE–PERIPHERY
CENTER–PERIPHERY CONTAINER
123
in music research:
This occurs because of the application of what Bregman (1990) terms the 'old-plus-new heuristic’. 123
207
207
• Brower (2000); Adlington (2003)

• Godøy (2003; 2006)
8ve
X
one'sroom,
•
headlistener
producesHRTF
Kendall and Ardillia (2008)
a pronounced
123
ofone's
a head produces a pronounced degree of cyclicalFigure
individuation/arpeggiation 123
Wilkie et. al. (2010)

of Gann'spercept
•
• Our own previous work (2013–15)

Roddy and Furlong (2014)

•
123 123
Young's installations in various ways. Young's installations in various ways. These factors are summarised in figure 30, below. 207
• Barrett (2015) high melodic !

flock towards center CYCLE SOURCE––PATH––GOAL


Key Q: Is spectromorphology •
compatible with image schema Major Ionian Framework!
123 123
207 207
‘Ionian Space’
tension/release (center–periphery, container, source–path–
theory?
Figure 2: Dynamic tonal–spatial mappings of initial system goal) or cyclical structures,
BALANCE along with hierarchical pitch
iteration, ‘animating’ a tonal hierarchy and attraction relationships (verticality). [2,3] suggest common practice tonal
model derived from Lerdahl [10,11] using a boids algorithm
structures may be based
Image schemas: on these image
embodied schemas].
conceptual Our previous
metaphors
to control the spatialization of voices work [6] has attempted to unify these ideas with cognitively–
123
207 207
based theories of tonality [10,11], culminating in the tonal–
These approaches have provided the basis for a further spatial mappings discussed above, which adopt center–
al mapping [4,7,14,16].
ion123 of a one's head produces a pronounced degree of cyclical individuation/arpeggiation123 of a
of voices
f tugging domains, facilitating accessible and immersive force of designs for NIME. number of the higher voices. In addition, a repetition of Gann's experiment of tugging
erials (e.g.
pitched)
a number
Schacher et al. [13] use the term ecological gravity
relationships for a DESCENT on an earlobe does bring about perceptible changes of a high frequency (but pitched)

(ground/stability)
hery. Many related idea, the
SPECTROMORPHOLOGY AND IMAGE
blending of human interaction gestures and
res of of acoustical factors which influence the perception of the frequency structures of
Pitch Space VERTICALITY
structuring system responses.
e 30, below. Young's installations in various ways. These factors are summarised in figure 30, below.
gorithm resulting sound structure.
mapped to More specifically,ASCENT
e movement such as making a circling motion with
our system combines
ennecting
music and physical Brower [2,3] and Johnson [8] havethepreviously applied image X X
SCHEMAS
egree of cyclical individuation/arpeggiation123 of a
motion with
tion, a repetition motion–tracked
speed ‘matching
of Gann's experiment of tugging
steering behaviors movements
instinct’
with figurative the experience. Continuous repetitive movement such as making a circling motion with
predictable
’s tonal schema
2
gestures [6] of musical theories
relative
123 changes of a high frequency (but pitched)
ptible
ion of a to tonal music.
macrostructures,
to neighboring They
such as pitch have also been
contours one's head produces a pronounced degree of cyclical individuation/arpeggiation123 of a
boids (e.g. pc 2 -> pc0)
of musical and rhythmic
f4 tugging
ee figure investigated
kHz). In summary, there appear to be a number
groupings
the perception of the frequency structures of
pitched)
g's sound installations
for (see
their practical
figure 1). Thesignificance
shared gestural in music software
SOURCE-----------PATH------------------GOAL
space
number
ip between source material, room, listener HRTF and the Figure 30: The relationship between source material, room, of the higher
listener

HRTFvoices.
and theIn addition, a repetition of Gann's experiment of tugging
PLANE
tes between
close to is the design
unifying[16,17].
‘glue’ connecting
s. These factors are summarised in figure 30, below.
a number Some of the mapping,
input, key basic and image
output schemas are component (perhaps in the region of 4 kHz). In summary, there appear to be a number
g voices
res of [A] standard
domains,
emergent [VERTICALITY (linear)
facilitatingbelow
illustrated accessiblegestures
(figure and 3).
immersive designs[B] cycle
VERTICALITY
for NIME.
(RECIPROCAL gestures (rotation
CENTER–PERIPHERY
= COMBINATIONS OF and spin) CONTAINER
of acoustical factors which influence the perception of the frequency structures of
THE ABOVE)
e 30, below.
ls (e.g. + SOURCE–PATH–GOAL] [EMBODIED DYNAMICS OF DIFFERENT CYCLE RATES]

Schacher et al. [13] use the term ecological relationships for a
application of what Bregman (1990) terms the 'old-plus-new heuristic’.123 This occurs because of the application of what Bregman (1990) terms the 'old-plus-new heuristic’.
the experience. Continuous repetitive movement207
such as making a circling motion with 207
y. Many related idea, theforceblending of human interaction gestures and

VERTICALITY of
ucturing system responses. gravity

such as making a circling motion with
ASCENT
DESCENT rotation=slow X ro
s repetitive movement such as making
in thearegion
circling
of 4motion with
the experience. Continuous
to be arepetitive
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usic and 8ve Brower [2,3] and Johnson [8] have previously applied image
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ical individuation/arpeggiation123 of a (ground/stability)
123 123
un
nounced
and the degreeofofacoustical
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tion of Gann's experiment of tugging
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30: The relationship between rotation path is
edictable
es.
es ofIna high
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ummary,
ped to
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investigated for their practical significance Xin music softwareX
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e region of 4 kHz). In summary, there appear to be a number

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ors are summarisedthe
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heuristic’.
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207
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nstallations earlobe does bring
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In addition, a repetition of Gann's experiment offorce
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207 complete 207
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ve provided the basis for aBothfurther

ummary, there appear to be a number

are CYCLE schemas, but different cycle is
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ion123 of a one's head produces a pronounced degree of cyclical individuation/arpeggiation123 of a
of voices
f tugging domains, facilitating accessible and immersive force of designs for NIME. number of the higher voices. In addition, a repetition of Gann's experiment of tugging
erials (e.g.
pitched)
a number
Schacher et al. [13] use the term ecological gravity
relationships for a DESCENT on an earlobe does bring about perceptible changes of a high frequency (but pitched)

(ground/stability)
hery. Many related idea, the
SPECTROMORPHOLOGY AND IMAGE
blending of human interaction gestures and
res of of acoustical factors which influence the perception of the frequency structures of
Pitch Space VERTICALITY
structuring system responses.
e 30, below. Young's installations in various ways. These factors are summarised in figure 30, below.
gorithm resulting sound structure.
mapped to More specifically,ASCENT
e movement such as making a circling motion with
our system combines
ennecting
music and physical Brower [2,3] and Johnson [8] havethepreviously applied image X X
SCHEMAS
egree of cyclical individuation/arpeggiation123 of a
motion with
tion, a repetition motion–tracked
speed ‘matching
of Gann's experiment of tugging
steering behaviors movements
instinct’
with figurative the experience. Continuous repetitive movement such as making a circling motion with
predictable
’s tonal schema
2
gestures [6] of musical theories
relative
123 changes of a high frequency (but pitched)
ptible
ion of a to tonal music.
macrostructures,
to neighboring They
such as pitch have also been
contours one's head produces a pronounced degree of cyclical individuation/arpeggiation123 of a
of musical and rhythmic
f4 tugging
ee figure investigated
kHz). In summary, there appear to be a number
groupings
the perception of the frequency structures of
pitched)
for (see
their practical
figure 1). Thesignificance
shared gestural in music software
SOURCE-----------PATH------------------GOAL
space
number
ip between source material, room, listener HRTF and the Figure 30: The relationship between source material, room, of the higher
listener

HRTFvoices.
PLANE
tes between
close to is the design
unifying[16,17].
‘glue’ connecting
s. These factors are summarised in figure 30, below.
a number Some of the mapping,
input, key basic and image
output schemas are component (perhaps in the region of 4 kHz). In summary, there appear to be a number
g voices
res of [A] standard
domains,
emergent [VERTICALITY (linear)
facilitatingbelow
illustrated accessiblegestures
(figure and 3).
immersive designs[B] cycle
VERTICALITY
for NIME.
(RECIPROCAL gestures (rotation
CENTER–PERIPHERY
= COMBINATIONS OF and spin) CONTAINER
THE ABOVE)
e 30, below.
ls (e.g. + SOURCE–PATH–GOAL] [EMBODIED DYNAMICS OF DIFFERENT CYCLE RATES]

Schacher et al. [13] use the term ecological relationships for a
application of what Bregman (1990) terms the 'old-plus-new heuristic’.123 This occurs because of the application of what Bregman (1990) terms the 'old-plus-new heuristic’.
the experience. Continuous repetitive movement207
such as making a circling motion with 207
y. Many related idea, theforceblending of human interaction gestures and

VERTICALITY of
ucturing system responses. gravity

ASCENT
DESCENT rotation=slow X ro
ro
Both are CYCLE
s repetitive movement such as making
in thearegion
circling
of 4motion with
the experience. Continuous
to be arepetitive
number movement such as making a circling motion with (internal)
usic and 8ve Brower [2,3] and Johnson [8] have previously applied image
component (perhaps kHz). In summary, there appear
ical individuation/arpeggiation123 of a (ground/stability)
123 123
un
nounced
and the degreeofofacoustical
cyclical factors
individuation/arpeggiation ofone's
a ofhead
which influence the perception produces structures
the frequency a pronounced
of degree of cyclicalFigure
individuation/arpeggiation of a source material, room, listener HRTF and the
30: The relationship between rotation path is
s c(still)
h e clear
mas, but
tion of Gann's experiment of tugging
edictable
es.
es ofIna high
addition, a repetition
Young's
frequency of Gann's
installations
(but pitched) schema theories to tonal music. They have also been
experiment
in various ways.of tugging
These number
factors are of the higherinvoices.
summarised In addition,
figure 30, below. a repetitionresulting
of Gann'spercept
in Young's sound installations re
tendency values
musical
bout perceptible
ummary,
ped to
there appearchanges of a high
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Spectromorphology
sound installations
of have
2.2.1 Unifying from
component (perhaps in the region of 4 kHz). In summary, there appear to be a number embodied musical
image
and forcecontinuation
models
Smalley’s terminations
influential
phases provide
9 investigated
or release
theories of phases for their
musicpractical
are associated
electroacoustic [15] arrival or significance in music software
withcomponent (perhaps in the region of 4 kHz). In summary, there appear to be a number
time frames, ranging from

om
ostructures.
phrase the
such or evenperspective
Thus,
an
since
the
sought to
schemas:
VORTEX
use
structural theories
a entire
refine
of
and
ofofLakoff
extend
a =and[6]Johnson
performance
embodied
embodied
our models
periphery,
gesture
to consider
ecologies
CYCLE+CENTRE/PERIPHERY+VERTICALITY
cognition,
correlates
namely
the
the imagecycle,
between
could and
be seen verticality
closure
usage through
(see table 1).
as anticipating such
design
their implicitly
These
[16,17]. schemas.
ideas may
VERTICALITY further
an embodied–structural
(+SOURCE-PATH-GOAL)
forembodied
hyper instruments.
inform the design
CENTER–PERIPHERY
SomeTheseof the key basic image schemas are
of mapping strategies discourse.
CONTAINER X
VORTEX
ment as making circling
schema Wewith
motion have of previously
theories 123 discussed howWe a variety
[8,9]. will nowof approaches 123
rs. andOur
duration.
output initialprovides approach aembodied
to musical
means image of
structure, gesture
managing
tracking,
theories and emergent
and control mappingstheories see archetypal
as the illustrated
envelope forms (termed
belowof (figure energy–motion
3).
207 207
present these schema related
racted may be unified within an informing
embodied model. We propose profiles)
that key generative dynamics electroacoustic
cyclicalfrom
Figure the30:
motion and
discourses
The relationship from
Figure of12.
between athe perspective
Motion
source and of
growth
material, processes
room, the 123
design
(Smalley
listener 1997:
HRTF of and
116).the
lexity
rallels via to conceptual
between mapping
various
such instruments,[4,7,14,16].
a usage of
ce. Continuous repetitive movement such as making a circling motion with
figure 12) inform the digital musical embodied models can be
interfaces, and mappings [5,6,16].of significant helpmusic.
for Smalley theorizes these generative dynamics in terms of the experience. Continuous repetitive movement such as making a circling motion with
epetition resulting be mentioned

of Gann's experiment
percept in
2.2 of
Young'stugging
Image sound
domains installations
Schemas, 2.2.2
designers and creative practitioners in unifying such diverse
roduces a pronounced degree of cyclical individuation/arpeggiation123 of a
ge it should Unifying mappings
of performance Musical 8ve
gestures Relations,
and control and
mappings. apparent
We causality.
Figurative from
embodied associations such as force and coherence of path or
musical movement
For example,
gestures may attackpertain
phasestoare considered
a fictive 2
movement or
X
analogues, such as to the

he higher voices. In addition, a repetition of Gann's experiment of tugging number of the higher voices. In addition, a repetition of Gann's experiment offorce
tuggingof
does not solely define a one'sroom,
Figure 30: The relationship between source material, headlistener
HRTF
123
and the degree of cyclical individuation/arpeggiation ofone's
to have associations
a head produces a pronounced degree of cyclicalFigureindividuation/arpeggiation 123
motion with departure,by launching, or emergence;
Melodic ! fromand force models

Embodied referMappingthis type of
e does bring about perceptible changes of a high frequency (but pitched) integrated model as a performance gesture
Strategies perceived the listener, including musical pitched)
+
On
hangesthe of
contrary, this com-
resulting percept in Young's sound installations number of the higher voices. In addition, a repetition of Gann's experiment of tugging
a high frequency (but pitched)
ecology: a shared gestural space that conveys continuationmetaphors
spatial–relational
phases provide impressions
and abstracted musicalof figurations
spatial passage; of Gann'spercept
such as melodic
in Young's sound installations
ial qualities:
trajectories. WePitch have
(perhaps in the region of 4 kHz). In summary, there appear to be a number component (perhaps in the region of 4 kHz). In summary, there appear to be a number
of sounds) will inherently 2.2.1 An Ecological

Unifying mappings embodied image
terminations or release phases are associated with arrival or
dynamics of performance
l factors which influence the perception of the frequency structures of gestures, resulting mapping strategies, and and chord structures. of acoustical factors which influence the perception of the frequency structures of
Smalley’s influential theories of electroacoustic music [15]

Space
onic for example, schemas:
In summary, there appear to be a number performance gesture ecologies closure (see table 1).
allations in various ways. These factors are summarised in figure 30, below. These ideas may further inform the design
r models
cy within spectraltospace,
low melodic
123
consider
We have previouslythe
of acoustical factors which
[6] discussed how a variety of approaches
influence the perception
!
of
of mapping strategies for hyper instruments.
the frequency structures of of acoustical
high tendency values factors which influence the perception of
123
could be thatseen as anticipating such an embodied–structuralX

Young's installations in various ways. 207 These factors are summarised in figure
mapped
30, below. toinstallations in various ways. These factors are summarised in figure 30, below.
Young's 207
traction (expectancy-
ception
ontinuant of and
the frequency
termination), to musical
structures of structure, gesture tracking, and control mappings
sition, namely the image
sion)
ce. Continuous
is also true
123
(e.g.repetitive
pc1 ->
This for thebecause
movement
imagemay of be application
the unified within
pc6) such as making a circling motion with
occurs of whatan Bregman
embodied(1990)model. termsWethepropose
'old-plus-new heuristic’.
high melodic ! steering behaviors the experience. Continuous repetitive movement such as making a circling motion with
ock towards periphery
creative practitioners inusage unifying such through their implicitly embodied CYCLE discourse. These
such a usage of embodied models can be of significant help for attraction (e.g. pc1 -> relative pc0) to neighboring
roduces a pronounced degree of cyclical individuation/arpeggiation123 of a
factors are summarised indesigners
figure 30, 207 one's head produces a pronounced degree of cyclical individuation/arpeggiation123 of a
eviously introduced shapes andbelow.
rson [8,9]. We will now
plicative denial values flock towards center boids (e.g. pc 2 -> pc0)
he higher voices. In addition, a repetition of Gann's
Figure experiment
30: The of tugging
relationship diverse number
between source material, room, listener HRTF and the Figure 30: The relationship between source material, room, of the higher
purposes of discussing
2
domains of performance gestures and control mappings. We Figurative gestures may pertain to a fictive movement or
refer to this type of integrated model astheories see archetypal motion perceivedenvelope by the listener,forms including (termed energy–motion
e does bring about perceptible changesresulting
of a highpercept
ma theories
pation (figure 11) indicates
y. Increasing the shape’s and a related
(perhaps in the region of 4 kHz). In summary, there appear to be a number
ecology:
a performance gesture
shared gestural space that conveys spatial–relational metaphors and abstracted musical figurations such as
musical
melodic
profiles) as theand chord keystructures.generative

VERTICALITY
dynamics CENTER–PERIPHERY
of electroacoustic CONTAINER
l factors which influence the perception of the frequency structures of of acoustical factors which influence the perception of the frequency structures of
informing
provides a further ‘handle’
the
allations in various ways. These factors
design of
dynamics of performance gestures, resulting
are summarised in figure 30, below. mapping strategies, and
CYCLE These image schemas may be applied to goal–oriented tonal
123
ly realising a sound-shape. Major Ionian

music. Smalley theorizes
Framework!
these tension/release
generative dynamics in terms of
123
This occurs because of the application of what Bregman (1990) terms the 'old-plus-new heuristic’. 207 207123 This occurs because of the application of what Bregman (1990) terms the 'old-plus-new heuristic’.
and mappings informed [5,6,16].

207 207
rates a dissipation ‘Ionian Space’
(center–periphery, container, source–path–
IMAGE SCHEMAS & MUSICAL CASES
• Verticality and path schemas (are fairly obvious/ubiquitous); centre–
periphery or balance (in spectromorphological terms) is implied by any
number of spectral and temporal gestures which establish dynamic range...
• Iterative gesture to cycle/loop to spin/spiral (or in reverse): a musical
affordance at least as old as Stockhausen’s Kontakte...
• Container schemas: e.g. Klang (Harrison, 1982); a range of transformed
sounds emerge from manipulation of source’s sonic ‘container–affordance’
• Furthermore, our tendency to spatialise these spectromorphologies
(schemas) makes explicit (concrete!) a conceptual metaphor which
Johnson (2007) has proposed...the moving music/music–as–moving–force
metaphor.
• Considering spectromorphologies as combinations of image schemas
elucidates dynamic connections (via embodied–cognitive ‘forces’)...may
shed light on the macro–level gestural syntaxes of musical structures
3. SOUNDED AFFORDANCES: BEYOND
CANONICAL IMAGE SCHEMAS TO
SOUNDED GESTURE–TEXTURES
• Key Q: Do we need sound–specific schemas (rather than relying solely on
existing image schemas)?
• How might they differ from canonical image schemas?
• Can we think of examples? flocking/streaming, rupture/breaking,

stretching, bouncing, various granular/iterative gestural schemas (crackling,
multiple cracks, etc.)...slow modulation ‘breathing’ schemas... If so, what is
their musical/structural function?
• These are common audible structures and affordances of our audio

processes...though many relate quite closely to existing image schemas,
their temporal dynamism and plasticity of form/state makes them
distinctive
SOUND(ING) SCHEMAS
• Flocking/streaming...grouping and segregation (growth/integration/
dissolution)
• Rupture/breaking/glitch (break/sudden change of state, foregrounded
event/act)
• Stretching (extension/sustaining tension, investigating limits of system/
gesture)
• Bouncing (equilibrium/balance schemas; bounce–back, echoes, decay,
inertial effects, coming to rest, new stable state...cue for new event entries)
• Slow oscillation/breathing (cycle, balance; pace, affective qualities via
emotional arousal model, etc.)
• Dilation/diffusion–to–point source (expansion/contraction/coverage,
changing density)
• Note that these are plastic, state–change schemas: the ‘objects’ in question
change form rather than simply moving
SOUNDED AFFORDANCES
AND MATERIAL METAPHORS
• Many existing image schema theories rely heavily on path/movement
metaphors (c.f. the image schema Master Metaphor List (Lakoff et al., 1994))
for changes of states, but certain contemporary musics may be better
served by focus on change of state metaphors themselves (Adlington, 2003)
• The lack of plasticity/animation and consideration of domain–specific

affordances in canonical image schema cases may sometimes limit their utility
in other domains (e.g. music)
• From path to material metaphors and the details of gestures, not just their
overall form...
• So, modified sounded schemas may imply new relational dynamics (whilst
still maintaining compatibility with existing image schema theories)
4. FORMS, DIMENSIONS AND
COMBINATIONS: SCHEMAS, GESTURES,
COMPOSITES AND FORM
(a) Qualities of movement as well as forms (and their

implications)
(b) Spectromorphology, gesture and timbre–space
(c) Combinations of movement and gestural ecologies
(d) Sounded schemas, conceptual metaphors and larger–scale

structures
accessible connections between figurative gestures and spatial In addition, figurative gestural materials also articulate the
metaphors via tonal hierarchy models. Connections between rate–effort–to–density approach via the mapping of average
musical structures and embodied spatial domains may be note–inter–onset to granular density and grain size.
urther explored and strengthened through the extraction and Fundamentally, this mode of interaction can be seen as
mapping of additional gesture data, specifically indirect relational: functional dynamics of engagement with the
(A) QUALITATIVE DIMENSIONS OF

ancillary/accompaniment gestures [3]. These are bodily
movements that a performer may consciously or unconsciously
environment are embodied within performance gestures.
Johnson [15] has proposed a typology of qualitative dimensions
of movement: tension, projection and linearity. These
ENERGY–MOTION PROFILES
execute alongside sounded performance gestures. They may be
conceptualized as embodied accompaniments to musical dimensions deal with the connection between the manner of the
structures. Although such usage entails the presence of movement’s initiation and the form of the resulting gesture. We
additional input controls, we consider the application of such believe it is significant that this typology bears a striking
gestures to mappings to be broadly compatible with our initial resemblance to Smalley’s [5] account of energy–motion
aim of maintaining clear connections with familiar performance profiles in electroacoustic music see table 1, below.
Johnson
gestures. In •addition, such (2007) extended
gestures are image
already broadly
accessible as by–products of established performance practice.
Table 1. Comparison of Johnson’s dimensions of movement with
Smalley’s energy–motion profiles and embodied associations
They are therefore schema theory
less likely to bewith a focusby on
experienced the Johnson Embodied Association Smalley
aesthetic
performer as contributing implications
to fragmented control based on
and impeding
Tension Rate–effort=>overcoming Motion
heir musical execution.
Structures based details of gesture
on accompaniment gestures are obtained
Projection
inertia
Sudden rate-change
rootedness
Motion
using a combination of the Xbox Kinect and the third-party
/ transient movement launching
application, Synapse [16]. This provides skeletal point–based
Linearity Coherence of path Contour
Parallel
data, including•values between
for velocity the embodied
and acceleration. The result
energy/inflection
of this extension is that we are now able to access a
combination of associations
gestural types––(1)of his qualitative
physically small–scale
Tension and motion–rootedness are correlated with an
sounding gesturesdimensions of movement
(either as individual and and
note articulations
embodied expectation (force–dynamic) of the effort required to
composite figurative gestures) alongside (2) more expansive
some of Smalley’s
bodily accompaniment/ancillary archetypalmore
gestures––facilitating overcome inertia: the persistence of a system’s grounded/stable
state (in our case, primarily associated with tonal and spatial
energy
holistic interpretations and–motion
mappings viaprofiles
force metaphors (see
Figure 4).
vs
2
• Connecting the two gives us key http://www.youtube.com/watch?v=5wEgpVuB9-w
gestural syntax cases TENSION PROJECTION LINEARITY

motion motion contour energy/
583 rootedness launching inflection
(B) SPECTROMORPHOLOGY AND
(EMBODIED) TIMBRE–SPACE
• Spectromorphology by its nature is a spatiotemporal model of timbral
gesture...conceptualised initially in the frequency/time domain
• It is an embodied theory of timbral dynamics...timbre seen not just as

some abstract perceptual map which is a by-product of simple
perceptual acts of transcoding...spectromorphology is a guide to timbre
as a structural forming principle in sound environments (composed or
otherwise)
• Worth examining its connection with other theories of timbre–space/

representation...e.g. Patton (2007) attempts to extend it as a general
model/descriptor of timbral structure across 3 dimensions (Smalley’s
basic form is two–dimensional, but various cases imply further
dimensionality)
amental Another way to look at timbre is as a Klangfarben, or
entional tone colour (Vaggione 1994). Timbres can have a
ense not consistent recognition, regardless of the listener’s ability
er space
to attribute a source. Smalley recognises this through his
ly tuned idea of the source-cause texture, a complex multilayered
s a band experiential ‘sonic physiognomy whose spectromorpho-
even an
logical ensemble permits the attribution of an identity’
ed to be Morphological notation for interactive electroacoustic music 125
xis as in
enting a
xis then
ures can
granular
f a cello
inly can
sounds.
Figure 1. MN representations of a viola note and a piano

phology cluster.
Smalley
se, and Figure 3. General schema of the MN system.
n of the Grey (1977) classic timbre–space studies
alley 1994). For the MN system, within a single instrumentalists, the representation of electroacoustic
he most
no be identified with colour, or fill pattern. timbre that includes a live source must (note Z axis is ‘flipped’ in comparison with
of music, when referring to a timbre that re-occurs, timbre must include the acoustic source. Any composite
with can
timbre reference the
greatcan
oise importance for interactive music is the idea transient/noise treatment in Patton)
sounding body. The representation of electroacoustic
ource bonding. In his analysis Smalley offers a processes must reflect the source, as well as the
z-axis is
archical typology of instrumental source-cause processing to the degree of presence of each.
stinuum.
and gives evidence that in electroacoustic music Although the MN system proposed CAN WE
attempts to COMBINE THESE IDEAS TO
clear to an instrumentalist, the source sound will, in WORK TOWARDS

.not lend itself to this hierarchical source-cause
Sound articulate electroacoustic processes in such a way as to be
ct of timbral identity. ‘In electroacoustic music
nedness)
e source-cause links arePatton
severed,(2007)
access to anymorphological
Figure 2. Spectral motion of pitch-shifted
some way, always notation
paper crushing.
EMBODIED TIMBRE–SPACE MODELS?
be present – even if simply sounding
er, primal, tensile level is not mediated by source- simultaneously with a triggered sample. This is not
e texture’ (Smalley 1994). rooted in what Smalley described as the ‘umbilical
ith interactive music, however, the sounding body security of instrumental source-cause coherence’, nor
urned to the listener. The self-referential aspect of does this represent a ‘hesitant reserve about cutting loose
umental performance combined with the presence in order to pursue a freer exploration’ (Smalley 1994).
ectroacoustic sound and processing present the By assimilating duration, spectral space or harmoni-
y= relative frequency x= synchronicity of entry/
y= spectral centroid
position/distribution exit of sound elements
=> embodied
=> 2 embodied cases/cases
two profiles of
=>embodied scales (L/R)
scales
[1] contour energy/ launching/
inflection (overall projection From motion launching/
[1] heightclarity
contour energy/
of stable gestures: projection
inflection position
(overallwithin
clarity of [a] stable contour
stable position within
verticality schema) energy b (rapid dynamic change)
verticality schema) [b] unstable
[2] motion rootedness contour energy To
instability of
[2] motionversus tensionand
rootedness contour energy vs.
gradual contour energy/
(verticality schema
tension (verticality a stability inflection (relative stability)
aspect)=‘degree of
schema aspect)=‘degree
effort required to
of effort required to move/ z= presence/absence of
move/launch’ from
launch’ from current
current stable vertical transients/noise
stable vertical position
position x= synchronicity of
entry/exit =>
of partials
embodied scales (F/B)
=>embodied cases
z= presence/ From motion rootedness/
absence of attack From gradualtension (grounded contact
contour
Towards an embodied timbre–

transients/noise energy/inflection
schema/inertia
(relative stability)
condition...noise)
=> embodied cases
space (various gestural cases

From motion
rootedness/tension
To motion launching/
projection To stable (floating/flying/
(rapid dynamic
ungrounded)
and embodied associations)
(grounded contact
schema/inertia
change)
sustained/smooth trajectory
condition)
To stable (floating/
flying/ungrounded)
(B) (EMBODIED) TIMBRE–SPACE AND
SPATIAL IMPLICATIONS The Visual Sound-Shapes of Spectromorp
shape’s movement, behaviour, interaction

pancy in space, while advancing this vi
three-dimensional images promotes consid
spatial depth and interplay between late
space positions.
Spectromorphology’s sound-shapes offe
and are adaptable to the individual. Custo
approach through vocabulary additions
tions, personal preference and creation of
images will inspire a whole array of sonic
and will hopefully support the realisat
composer’s creative intensions.
Figure 27. Depth perspective. A final note embraces the subjective
visual sound-shapes. The vast variety of
Z domain representation is also compatible with tions
depthand sonic possibilities of this illustr
influenced by spectromorphology are undo
perspective model noted in Blackburn (2011) greatest advantages.
(transients/noise will aid spatial discrimination)
REFERENCES
Blackburn, M. 2009. Composing from
morphological Vocabulary: Proposed
Pedagogy and Metadata, www.ems-network
proceedings.html.
Figure 28. Spectral space (Smalley 1997: 121). Patton, Kevin. 2007. Morphological Notatio
4. (C, D) SCHEMAS, ECOLOGIES
AND FORM
• The key benefit of this type of model is that it provides the
starting point for an ecological/embodied theory of timbral
relations which foregrounds musical macrostructural/
perceptual macrostructural contexts... (i.e. forming principles)
(c) Combinations of movement and gestural ecologies;

potentially aiding the creation of timbrally-sophisticated (and
gesturally sophisticated) musical interfaces or DMIs
(d) The embodied dynamics and extended conceptual

metaphors of combinations of sounded schemas may
explain the gestural connections of larger–scale form
(SOME) CONCLUSIONS
• Spectromorphology’s ‘embodied space’ may be extended via image
schema theory to provide insight into a broader range of musical/
sonic spaces...has important pragmatic utility in terms of our
connections with other fields (HCI, DMIs/NIMEs, sonification)
• Also, certain common affordances/gestures in electroacoustic music

embody distinctive conceptual metaphors and may extend image
schema theory
• Considering spectromorphology via the gestural dimensions and force

dynamics implied by image schema theories may extend generalised
composition theories and models of larger–scale structures/form etc.
• Also, if spectromorphology is an embodied cognitive theory,

electroacoustic music is embodied cognitive praxis and may extend
current theories of embodied cognition
SELECTED REFERENCES
• Adlington, R. (2003). Moving beyond motion: Metaphors for changing sound. Journal of the Royal Musical Association, 128(2), 297-318.
• Barrett, N. (2015). Creating tangible spatial-musical images from physical performance gestures. Proc. NIME 2015. Louisiana State
University.
• Blackburn, M. (2011). The Visual Sound-Shapes of Spectromorphology: an illustrative guide to composition. Organised Sound, 16(01),
5-13.
• Brower, C. (2000). A Cognitive Theory of Musical Meaning. Journal of Music Theory, 44,2, pp.323–379
• Godøy, R. I. (2006). Gestural-Sonorous Objects: embodied extensions of Schaeffer's conceptual apparatus. Organised Sound, 11(02),
149-157.
• Graham, R., & Bridges, B. (2014). Gesture and Embodied Metaphor in Spatial Music Performance Systems Design. Proc. NIME 2014.
Goldsmiths University of London.
• Grey, J. M. (1977). Multidimensional perceptual scaling of musical timbres. The Journal of the Acoustical Society of America, 61(5),
1270-1277.
• Johnson, M. (2007). The Meaning of the Body: Aesthetics of Human Understanding. University of Chicago Press.
• Lakoff, G. & Johnson, M. (1980). Metaphors We Live By. Chicago, University of Chicago Press.
• Patton, K. (2007). Morphological notation for interactive electroacoustic music. Organised Sound, 12(02), 123-128.
• Roddy, S., & Furlong, D. (2014). Embodied Aesthetics in Auditory Display. Organised Sound, 19(01), 70-77.
• Wilkie, K., Holland, S. & Mulholland, P. (2010). What Can the Language of Musicians Tell Us about Music Interaction Design? Computer
Music Journal. Winter 2010, Vol. 34, No. 4, pp. 34–48
THANKS...& QUESTIONS
• Further questions/comments/suggestions?
• Brian Bridges: bd.bridges@ulster.ac.uk
• Ricky Graham: rgraham1@stevens.edu

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ELECTROACOUSTIC MUSIC AS

EMBODIED COGNITIVE PRAXIS

Brian Bridges, Ulster University, Northern Ireland

2. EMBODIED–ECOLOGICAL MODELS: COMPARING

3. SOUNDED AFFORDANCES: BEYOND CANONICAL

4. FORMS, DIMENSIONS AND COMBINATIONS: HOW

(HOPEFULLY!) SOME CONCLUSIONS

e.g. two modes/models of ‘perception and cognition’

e.g. two modes/models of ‘perception and cognition’

e.g. two modes/models of ‘perception and cognition’

e.g. two modes/models of ‘perception and cognition’

e.g. two modes/models of ‘perception and cognition’

e.g. two modes/models of ‘perception and cognition’

e.g. two modes/models of ‘perception and cognition’

e.g. two modes/models of ‘perception and cognition’

e.g. two modes/models of ‘perception and cognition’

e.g. two modes/models of ‘perception and cognition’

e.g. two modes/models of ‘perception and cognition’

e.g. two modes/models of ‘perception and cognition’

e.g. two modes/models of ‘perception and cognition’

e.g. two modes/models of ‘perception and cognition’

one's head produces a pronounced degree of cyclical individuation/arpeggiation123 ofone's

number of the higher voices. In addition, a repetition of Gann's experiment of tugging

schemas (Lakoff and Johnson) as

component (perhaps in the region of 4 kHz). In summary, there appear to be a number

component (perhaps in the region of 4 kHz). In summary, there appear to be a number

common sensorimotor patterns

‘imported into cognition’

• Image schemas (and related ideas)

• Brower (2000); Adlington (2003)

Wilkie et. al. (2010)

• Our own previous work (2013–15)

Roddy and Furlong (2014)

• Barrett (2015) high melodic !

resulting percept in Young's sound installations

resulting percept in Young's sound installations

one's head produces a pronounced degree of cyclical individuation/arpeggiation123 ofone's

number of the higher voices. In addition, a repetition of Gann's experiment of tugging

schemas (Lakoff and Johnson) as

component (perhaps in the region of 4 kHz). In summary, there appear to be a number

component (perhaps in the region of 4 kHz). In summary, there appear to be a number

common sensorimotor patterns

‘imported into cognition’

• Image schemas (and related ideas)

• Brower (2000); Adlington (2003)

Wilkie et. al. (2010)

• Our own previous work (2013–15)

Roddy and Furlong (2014)

• Barrett (2015) high melodic !

resulting percept in Young's sound installations

resulting percept in Young's sound installations

component (perhaps in the region of 4 kHz). In summary, there appear to be a number

resulting percept in Young's sound installations

ls (e.g. + SOURCE–PATH–GOAL] [EMBODIED DYNAMICS OF DIFFERENT CYCLE RATES]

y. Many related idea, theforceblending of human interaction gestures and

ucturing system responses. gravity

on of the frequency structures of

e region of 4 kHz). In summary, there appear to be a number

resulting percept in Young's sound installations

al–spatial mappings of initial system goal) or cyclical structures,

associated embodied dynamics?

repetition of [10,11], culminating in the tona