By the same authors

From the same journal

Gesture-sound causality from the audience’s perspective: investigating the aesthetic experience of performances with digital musical instruments.

Research output: Contribution to journalArticlepeer-review

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Gesture-sound causality from the audience’s perspective: investigating the aesthetic experience of performances with digital musical instruments. / Emerson, Gina; Egermann, Hauke.

In: Psychology of Aesthetics, Creativity, and the Arts, Vol. 12, No. 1, 28.02.2018, p. 96-109.

Research output: Contribution to journalArticlepeer-review

Harvard

Emerson, G & Egermann, H 2018, 'Gesture-sound causality from the audience’s perspective: investigating the aesthetic experience of performances with digital musical instruments.', Psychology of Aesthetics, Creativity, and the Arts, vol. 12, no. 1, pp. 96-109. https://doi.org/10.1037/aca0000114

APA

Emerson, G., & Egermann, H. (2018). Gesture-sound causality from the audience’s perspective: investigating the aesthetic experience of performances with digital musical instruments. Psychology of Aesthetics, Creativity, and the Arts, 12(1), 96-109. https://doi.org/10.1037/aca0000114

Vancouver

Emerson G, Egermann H. Gesture-sound causality from the audience’s perspective: investigating the aesthetic experience of performances with digital musical instruments. Psychology of Aesthetics, Creativity, and the Arts. 2018 Feb 28;12(1):96-109. https://doi.org/10.1037/aca0000114

Author

Emerson, Gina ; Egermann, Hauke. / Gesture-sound causality from the audience’s perspective: investigating the aesthetic experience of performances with digital musical instruments. In: Psychology of Aesthetics, Creativity, and the Arts. 2018 ; Vol. 12, No. 1. pp. 96-109.

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@article{76094bdaa642487e871b85e06a83c71f,
title = "Gesture-sound causality from the audience{\textquoteright}s perspective:: investigating the aesthetic experience of performances with digital musical instruments.",
abstract = "In contrast to their traditional, acoustic counterparts, digital musical instruments (DMIs) rarely feature a clear, causal relationship between the performer{\textquoteright}s actions and the sounds produced. They often function simply as systems for controlling digital sound synthesis, triggering computer-generated audio. This study aims to shed light on how the level of perceived causality of DMI designs impacts audience members{\textquoteright} aesthetic responses to new DMIs. In a preliminary survey, 49 concert attendees listed adjectives that described their experience of a number of DMI performances. In a subsequent experiment, 31 participants rated video clips of performances with DMIs with causal and acausal mapping designs using the eight most popular adjectives from the preliminary survey. The experimental stimuli were presented in their original version and in a manipulated version with a reduced level of gesture-sound causality. The manipulated version was created by placing the audio track of one section of the recording over the video track of a different section. It was predicted that the causal DMIs would be rated more positively, with the manipulation having a stronger effect on the ratings for the causal DMIs. Our results confirmed these hypotheses, and indicate that a lack of perceptible causality does have a negative impact on ratings of DMI performances. The acausal group received no significant difference in ratings between original and manipulated clips. We posit that this result arises from the greater understanding that clearer gesture-sound causality offers spectators. The implications of this result for DMI design and practice are discussed. (PsycINFO Database Record (c) 2018 APA, all rights reserved)",
keywords = "Audience, Causality, Digital music instruments, Mapping, Multimodal",
author = "Gina Emerson and Hauke Egermann",
note = "This is an author-produced version of the published paper. Uploaded in accordance with the publisher{\textquoteright}s self-archiving policy. Further copying may not be permitted; contact the publisher for details ",
year = "2018",
month = feb,
day = "28",
doi = "10.1037/aca0000114",
language = "English",
volume = "12",
pages = "96--109",
journal = "Psychology of Aesthetics, Creativity, and the Arts",
issn = "1931-3896",
publisher = "American Psychological Association Inc.",
number = "1",

}

RIS (suitable for import to EndNote) - Download

TY - JOUR

T1 - Gesture-sound causality from the audience’s perspective:

T2 - investigating the aesthetic experience of performances with digital musical instruments.

AU - Emerson, Gina

AU - Egermann, Hauke

N1 - This is an author-produced version of the published paper. Uploaded in accordance with the publisher’s self-archiving policy. Further copying may not be permitted; contact the publisher for details

PY - 2018/2/28

Y1 - 2018/2/28

N2 - In contrast to their traditional, acoustic counterparts, digital musical instruments (DMIs) rarely feature a clear, causal relationship between the performer’s actions and the sounds produced. They often function simply as systems for controlling digital sound synthesis, triggering computer-generated audio. This study aims to shed light on how the level of perceived causality of DMI designs impacts audience members’ aesthetic responses to new DMIs. In a preliminary survey, 49 concert attendees listed adjectives that described their experience of a number of DMI performances. In a subsequent experiment, 31 participants rated video clips of performances with DMIs with causal and acausal mapping designs using the eight most popular adjectives from the preliminary survey. The experimental stimuli were presented in their original version and in a manipulated version with a reduced level of gesture-sound causality. The manipulated version was created by placing the audio track of one section of the recording over the video track of a different section. It was predicted that the causal DMIs would be rated more positively, with the manipulation having a stronger effect on the ratings for the causal DMIs. Our results confirmed these hypotheses, and indicate that a lack of perceptible causality does have a negative impact on ratings of DMI performances. The acausal group received no significant difference in ratings between original and manipulated clips. We posit that this result arises from the greater understanding that clearer gesture-sound causality offers spectators. The implications of this result for DMI design and practice are discussed. (PsycINFO Database Record (c) 2018 APA, all rights reserved)

AB - In contrast to their traditional, acoustic counterparts, digital musical instruments (DMIs) rarely feature a clear, causal relationship between the performer’s actions and the sounds produced. They often function simply as systems for controlling digital sound synthesis, triggering computer-generated audio. This study aims to shed light on how the level of perceived causality of DMI designs impacts audience members’ aesthetic responses to new DMIs. In a preliminary survey, 49 concert attendees listed adjectives that described their experience of a number of DMI performances. In a subsequent experiment, 31 participants rated video clips of performances with DMIs with causal and acausal mapping designs using the eight most popular adjectives from the preliminary survey. The experimental stimuli were presented in their original version and in a manipulated version with a reduced level of gesture-sound causality. The manipulated version was created by placing the audio track of one section of the recording over the video track of a different section. It was predicted that the causal DMIs would be rated more positively, with the manipulation having a stronger effect on the ratings for the causal DMIs. Our results confirmed these hypotheses, and indicate that a lack of perceptible causality does have a negative impact on ratings of DMI performances. The acausal group received no significant difference in ratings between original and manipulated clips. We posit that this result arises from the greater understanding that clearer gesture-sound causality offers spectators. The implications of this result for DMI design and practice are discussed. (PsycINFO Database Record (c) 2018 APA, all rights reserved)

KW - Audience

KW - Causality

KW - Digital music instruments

KW - Mapping

KW - Multimodal

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U2 - 10.1037/aca0000114

DO - 10.1037/aca0000114

M3 - Article

VL - 12

SP - 96

EP - 109

JO - Psychology of Aesthetics, Creativity, and the Arts

JF - Psychology of Aesthetics, Creativity, and the Arts

SN - 1931-3896

IS - 1

ER -