Clasp Together: Composing for Mind and Machine

Authors

  • J. Harry Whalley Reid School of Music, ECA, University of Edinburgh
  • Panagiotis Mavros Centre for Advanced Spatial Analysis, The Bartlett, University College London
  • Peter Furniss Reid School of Music, ECA, University of Edinburgh

DOI:

https://doi.org/10.18061/emr.v9i3-4.4348

Keywords:

BCI, EEG, Cognition, Composition, Live electronics, Performance

Abstract

This paper will explore questions of agency, control and interaction and the embodied nature of musical performance in relation to the use of human-computer interaction (HCI), through the experimental work Clasp Together (beta) [1] for small ensemble and live electronics by J. Harry Whalley. This practice-led research is situated at the intersection of music neurotechnology for sound synthesis and brain-computer interfaces (BCI, a subdomain of HCI), and explores the use of neural patterns from Electroencephalography (EEG) as a control instrument. The composition departed from the traditional composer/performer paradigm by using both non-instrumental physical gestures and cognitive or emotive instructions integrated into the score.

Downloads

Published

2015-02-01

How to Cite

Whalley, J. H., Mavros, P., & Furniss, P. (2015). Clasp Together: Composing for Mind and Machine. Empirical Musicology Review, 9(3-4), 263–276. https://doi.org/10.18061/emr.v9i3-4.4348