Abstract
Sonification has the potential to communicate a variety of data types to listeners including not just cognitive information, but also emotions and aesthetics. The goal of our dancer sonification project is to “sonify emotions as well as motions” of a dance performance via musical sonification. To this end, we developed and evaluated sonification strategies for adding a layer of emotional mappings to data sonification. Experiment 1 developed and evaluated four musical sonifications (i.e., sin-ification, MIDI-fication, melody module, and melody and arrangement module) to see their emotional effects. Videos were recorded of a professional dancer interacting with each of the four musical sonification strategies. Forty-eight participants provided ratings of musicality, emotional expressivity, and sound-motion/emotion compatibility via an online survey. Results suggest that increasing musical mappings led to higher ratings for each dimension for dance-type gestures. Experiment 2 used the musical sonification framework to develop four sonification scenarios that aimed to communicate a target emotion (happy, sad, angry, and tender). Thirty participants compared four interactive sonification scenarios with four pre-composed dance choreographies featuring the same musical and gestural palettes. Both forced choice and multi-dimensional emotional evaluations were collected, as well as motion/emotion compatibility ratings. Results show that having both music and dance led to higher accuracy scores for most target emotions, compared to music or dance conditions alone. These findings can contribute to the fields of movement sonification, algorithmic music composition, as well as affective computing in general, by describing strategies for conveying emotion through sound.
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Acknowledgment
This paper is partly based on the first author's Ph.D. dissertation. The first author would like to thank his committee members, Dr. Stephen Barrass, Dr. Shane Mueller, Dr. Scott Kuhl, and Dr. Myounghoon Jeon for their invaluable feedback for this paper.
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Appendix
Appendix
Link to playlist of all stimuli used in Experiments 1 and 2.—https://www.youtube.com/playlist?list=PLEGYnxgyNt1A210xEjhVqkGKLecyynqkC.
1.1 Video label codes
Video label—Condition.
Experiment 1:
Reg1demo—Level 1, demonstrative gesture
Reg1dance—Level 1, dance gesture
Reg2demo—Level 2, demonstrative gesture
Reg2dance—Level 2, dance gesture
Reg3demo—Level 3, demonstrative gesture
Reg3dance—Level 3, dance gesture
Reg4demo—Level 4, demonstrative gesture
Reg4dance—Level 4, dance gesture
Experiment 2:
PCBD—Precomposed, both music/dance, Tender
PCBC—Precomposed, both music/dance, Sad
PCBB—Precomposed, both music/dance, Happy
PCBA—Precomposed, both music/dance, Anger
PCDD—Precomposed, dance only, Tender
PCDC—Precomposed, dance only, Sad
PCDB—Precomposed, dance only, Happy
PCDA—Precomposed, dance only, Anger
PCMD—Precomposed, music only, Tender
PCMC—Precomposed, music only, Sad
PCMB—Precomposed, music only, Happy
PCMA—Precomposed, music only, Anger
ISBD—Interactive Sonification, both music/dance, Tender
ISBC—Interactive Sonification, both music/dance, Sad
PCBB—Precomposed, both music/dance, Happy
PCBA—Precomposed, both music/dance, Anger
ISDD—Interactive Sonification, dance only, Tender
ISDC—Interactive Sonification, dance only, Sad
ISDB—Interactive Sonification, dance only, Happy
PCDA—Interactive Sonification, dance only, Anger
ISMD—Interactive Sonification, music only, Tender
ISMC—Interactive Sonification, music only, Sad
ISMB—Interactive Sonification, music only, Happy
ISMA—Interactive Sonification, music only, Anger
1.2 Screenshots of the pure data sonification patches
1.3 The structure and dimensions of the tracking space
See Fig. 13.
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Landry, S., Jeon, M. Interactive sonification strategies for the motion and emotion of dance performances. J Multimodal User Interfaces 14, 167–186 (2020). https://doi.org/10.1007/s12193-020-00321-3
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DOI: https://doi.org/10.1007/s12193-020-00321-3