Spectromorphology: explaining sound-shapes
Organised Sound
Transmodal Sensorimotor Networks during Action Observation in Professional Pianists
Journal of Cognitive Neuroscience
Auditory–Motor Interaction Revealed by fMRI: Speech, Music, and Working Memory in Area Spt
Journal of Cognitive Neuroscience
Involuntary Motor Activity in Pianists Evoked by Music Perception
Journal of Cognitive Neuroscience
Playing “air instruments”: mimicry of sound-producing gestures by novices and experts
GW'05 Proceedings of the 6th international conference on Gesture in Human-Computer Interaction and Simulation
Retrieving and Recreating Musical Form
Computer Music Modeling and Retrieval. Sense of Sounds
Geometry and Effort in Gestural Renderings of Musical Sound
Gesture-Based Human-Computer Interaction and Simulation
Instrumental listening: Sonic gesture as design principle
Organised Sound
Chunking Sound for Musical Analysis
Computer Music Modeling and Retrieval. Genesis of Meaning in Sound and Music
Sonic image and acousmatic listening*
Organised Sound
Organised Sound
Analyzing sound tracings: a multimodal approach to music information retrieval
MIRUM '11 Proceedings of the 1st international ACM workshop on Music information retrieval with user-centered and multimodal strategies
Gestural attributions as semantics in user interface sound design
GW'09 Proceedings of the 8th international conference on Gesture in Embodied Communication and Human-Computer Interaction
Gestures in human-computer interaction – just another modality?
GW'09 Proceedings of the 8th international conference on Gesture in Embodied Communication and Human-Computer Interaction
A statistical approach to analyzing sound tracings
CMMR'11 Proceedings of the 8th international conference on Speech, Sound and Music Processing: embracing research in India
Effects of spectral features of sound on gesture type and timing
GW'11 Proceedings of the 9th international conference on Gesture and Sign Language in Human-Computer Interaction and Embodied Communication
Analyzing correspondence between sound objects and body motion
ACM Transactions on Applied Perception (TAP)
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One of the most remarkable achievements of Pierre Schaeffer's musical thought is his proposal of the sonorous object as the focus of research. The sonorous object is a fragment of sound, typically in the range of a few seconds (often even less), perceived as a unit. Sonorous objects are constituted, studied, and evaluated according to various criteria, and sonorous objects that are found suitable are regarded as musical objects that may be used in musical composition. In the selection and qualification of these sonorous objects, we are encouraged to practise what Schaeffer called ‘reduced listening’, meaning disregarding the original context of the sound, including its source and signification, and instead focus our listening on the sonorous features.However, it can be argued that this principle of ‘reduced listening’ is not in conflict with more fundamental principles of embodied cognition, and that the criteria for the constitution, and the various feature qualifications, of sonorous objects can be linked to gestural images. Also, there are several similarities between studying sound and gestures from a phenomenological perspective, and it is suggested that Schaeffer's theoretical concepts may be extended to what is called gestural-sonorous objects.