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Extending analysis: emotion, brain, computation
Symposium 1: Saturday 29 February 2012
Theme: Extending analysis: emotion, brain, computation
Location: Room 0.01, Clephan Building, Bonners Lane, De Montfort University, Leicester LE1 9BH
Time: 11.00-13.00 and 14.00-17.00
Chair: Simon Emmerson
Schedule:
11.00-13.00 Keynote speakers: ‘Emotion, Cognition, Computation’
Gary Kendall (Queen’s University Belfast): “Meaning in Electroacoustic Music: Feeling, Emotion and the Aesthetic Experience”
Michael Young (Goldsmiths, University of London): “Why now? Contingencies and Identities in Interactive and Generative Music”
Simon Durrant (University of Lincoln): “Write it how you hear it: how neuroscience and psychology may help inform electroacoustic music analysis”
14.00-17.00 Toolkit team: ‘Building a toolkit and a community’
Simon Emmerson and Leigh Landy: “Spanner, chisel, AVO-meter - what tools do we need?”
Mike Gatt with OREMA website contributors Ben Ramsay, Manuella Blackburn, Panos Amelides, Andrew Hill, Ambrose Seddon in presentations and discussion on the analyses made and issues raised by this now open forum (http://www.orema.dmu.ac.uk/).
Pierre Couprie: EAnalysis software update and demonstration (http://logiciels.pierrecouprie.fr/?page_id=216)
Closing discussion
Videos below:
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Comments
2nd Symposium
I have just watched the videos for the second symposium, and I really wish I had been able to be there! I just wanted to give a few instant, off-the-cuff, reactions.
Two things came across most strongly to me:
1. Electroacoustic music analysis is still largely virgin territory in research terms,
2. We really do need multidisciplinary teams (and a transdisciplinary mindset) if we are to engage fully with all the potential lines of enquiry.
The second feeds off the first. I think there is a real opportunity here, possibly for the first time in the history of musical analysis, to put down a marker for a methodological approach that is not restricted to the narrow interests of a small(ish) community, but rather opens itself up to a more universal form of scholarship. The 'sonic listening' (as opposed to 'linguistic listening') idea outlined by Simon Durrant offers a doorway into this, and the emotional emphasis of Gary Kendall places the individual listener's experience at the centre of the analytical process. For myself, I would like to see these notions extended into interactive music.
There are enormous technical and methodogical challenges, of course, partly resulting from the limitations of scientific knowledge at this time and partly from the lack of general agreement about the best way frwards, which is what this project seems to be tackling. But this was an immensely stimulating and encouraging way to start!
Andrew