Although many artists have worked to create associations between music and animation, this has traditionally be done by developing one to suit the pre-existing other, as in visualization or sonification. The approach we employ in this work is to enable the simultaneous development of both music and sound from a common and rather generic central parameter variation, which may simply indicate a s...

Auditory evoked potentials (AEPs) express the development of mature synaptic connections in the upper neocortical laminae known to occur between 4 and 15 years of age. AEPs evoked by piano, violin, and pure tones were measured twice in a group of 4- to 5-year-old children enrolled in Suzuki music lessons and in non-musician controls. P1 was larger in the Suzuki pupils for all tones whereas P2 w...

Standing balance control relies on multisensory feedback, but little is known about the influence of periodically varying sounds on this process. The level of sensorimotor activation has been shown to be highly correlated with the concept of musical groove. We presented musical stimuli with high and low groove ratings to participants (N=40) as center of pressure (CoP) was recorded using a force...

We explore the extension of an algorithmic composition system for live audio cutting to the realm of video, through a protocol for message passing between separate audio and video applications. The protocol enables fruitful musician to video artist collaboration with multiple new applications in live performance: The crowd at a gig can be cutup as video in synchrony with audio cutting, a musici...

The present study addressed the effects of musicianship on neural and behavioral discrimination of Western music chords. In abstract oddball paradigms, minor chords and inverted major chords were presented in the context of major chords to musician and non-musician participants in a passive listening task (with EEG recordings) and in an active discrimination task. Both sinusoidal sounds and har...

An experiment tested the hypothesis that a communication will be more persuasive when the audience thinks the communicator felt similar to the audience he addressed than when the audience thinks the communicator felt dissimilar to those he addressed. College women read the same communication with varying introductions. Some were informed that the communicator was a musician and those in the aud...

This paper describes the LuminUs a device that we designed in order to explore how new technologies could influence the interpersonal aspects of co-present musical collaborations. The LuminUs uses eye-tracking headsets and small wireless accelerometers to measure the gaze and body motion of each musician. A small light display then provides visual feedback to each musician, based either on the ...

In this paper, I examine the liminal states of Taiwanese guitarist/composer Huang Wan-ting, particularly as these states articulate with similar liminal states of “indie music” and the island of Taiwan. I use the term ‘liminal’ in a non-ritual sense to refer to a structural position on the interstices of recognized roles and identities. In addition, I propose a second type of liminality: a posi...