The chapter “The Body as Musical Instrument” explores the concept of the human body serving as an integral musical instrument through embodied interaction, gesture, and physiological engagement. This framework synthesizes phenomenology, body theory, and human-computer interaction, examining the physical and technological extensions of the human form in musical performance.

Body and Gesture in Musical Contexts

The body’s involvement in music extends beyond tactile manipulation of instruments to a profound interplay between physicality, sound, and space. For example, brass instruments engage the player in a feedback loop, where acoustic resistance informs and adapts the performer’s physiological response, creating an interactive system of sound production and embodiment (p. 2). This phenomenon is tied closely to proprioception, the body’s innate sense of position and movement. Proprioception bridges conscious and unconscious motor control, allowing musicians to refine gestures and adapt their performance dynamically, as seen in how instrumentalists use diaphragmatic control to modulate tone or avoid injury (pp. 3–4).

The concept of body schemata, as discussed by Merleau-Ponty, highlights how the body integrates tools and instruments into its sensory and motor systems. For instance, the example of an organist illustrates how performers do not rely on the objective positions of pedals or stops but incorporate these elements into their extended proprioceptive field, creating a seamless interaction between body and instrument (p. 5). Musicians thus engage instruments affectively, using gestures that are intrinsically tied to their expressive intent, rather than merely mechanical actions (p. 6). The concept of Body schemata with involvement of digital technology, as I understood it, can be explicitly spotted in the video below.

Embodied Interaction and Technological Extensions

Technological advancements have amplified the role of gesture and the body in music, creating opportunities for innovative embodied interactions. Biosensors, such as EMG (electromyogram) and EEG (electroencephalogram), detect physiological signals directly from the body, transforming muscle movements or brain activity into musical control inputs. These devices exemplify the transformation of the body into a musical medium, a development highlighted by early gestural electronic instruments like the Theremin (pp. 7–9). I found particularly interesting the note about posthuman hybridisation of the body with technology. These advancements align with Donna Haraway’s concept of the cyborg, where human and machine interact to form hybrid entities, expanding the expressive potential of the human body beyond traditional boundaries (p. 6).

Paul Dourish’s perspective on embodied interaction further situates these developments, emphasizing that interfaces should not merely represent physical interaction but actively become mediums of interaction (p. 8). In this context, technologies like biosensors and motion capture systems enable performers to seamlessly integrate their physiological and gestural inputs into musical creation, fostering more profound connections between body, instrument, and sound.

Gestural and Physiological Performance Practices

Recent works demonstrate the evolving interplay between body and technology. Atau Tanaka’s Kagami (1991) transformed muscle tension, detected via EMG signals, into MIDI data to control digital sound, establishing a direct and intuitive connection between gesture and sonic output (p. 13). Marco Donnarumma’s Ominous (2013) extended this approach, using mechanomyogram signals to create interactive soundscapes shaped by whole-body gestures, effectively molding sound like a sculptural material in space (p. 14). These examples emphasize the transition from static instrument manipulation to adaptive systems where performer and instrument co-evolve (pp. 16–17).

These practices challenge traditional control paradigms by fostering adaptive configurations in which the instrument responds dynamically to the performer’s physiological and gestural inputs. For instance, in Ominous, the interplay between the performer’s muscular activity and the neural networks driving the instrument illustrates a symbiotic relationship, blurring the boundaries between human control and technological agency (p. 16).

The integration of gesture, body, and technology redefines the concept of musical instruments, positioning the human body as a central, adaptable, and dynamic component in sound creation. Through physiological processes and technological extensions, performers achieve novel interactions with space, sound, and audience. As this chapter demonstrates, the body as a musical instrument not only adapts to evolving technologies but also transforms them, extending the boundaries of human expression in music (pp. 17–18).

This synthesis of embodied interaction, gesture, and physiological integration creates emergent musical forms, aligning with the posthuman notion of hybridized entities that merge physical and digital realms in artistic practices (p. 18).

Atau Tanaka has been a significant inspiration for my practice, particularly as I reflect on the similarities and differences between our approaches, especially in relation to The Ring. While we both explore the concept of the human body as a musical instrument, our perspectives diverge. Tanaka primarily focuses on internal aspects, such as muscle tension and physiological signals, whereas my work emphasizes external bodily movements. Additionally, The Ring seeks to extend this exploration by engaging the audience, aiming to dissolve another layer of duality—not only between body and sound performance but also between the audience and the art piece itself.

Bibliography:

Tanaka, A. and Donnarumma, M., 2018. The Body as Musical Instrument. In Y. Kim and S. Gilman (eds.), The Oxford Handbook of Music and the Body. [online] Oxford University Press. Available at: https://doi.org/10.1093/oxfordhb/9780190636234.013.2 [Accessed 27 Nov. 2024]

At this stage of the installation’s development, I have created two distinct “sonic situations” that are integral to the experience: the Entry Scene (also known as the Entry AV Game) and the Scales (or Scale Game).

The Entry Scene: Adjustments and Execution

The Entry Scene was initially designed to create visual and auditory transition for participants as they stepped into the circle. My original concept was to have 16 LED strips progressively light up from left and right to the middle in the front, converging to form a complete ring that encloses the participant. However, due to a severe hardware malfunction the day before the exhibition, I had to scale back the animation to utilise only 8 LED strips. Despite this limitation, the adjustment preserved the core concept of creating an engaging and immersive entry point for the installation.

The sonic aspect of the Entry Scene complements the visual elements by employing rhythmic drum steps that align with the LED animation. As the LED strips transition step by step from white to red, the accompanying drum sounds build intensity, shrinking visually and aurally into a thin ring of light. The drum sound itself is a processed sample, crafted from a recording of a rusty metal tank in my basement. The raw, industrial quality of the sample adds a tactile and somewhat primal atmosphere to the scene, reinforcing the visceral nature of the installation’s aesthetic.

The initial 2×8-step Entry Scene featured a distinct spatial imaging compared to the final 8-step version. In the original setup, 8 drum steps moved to the left and right, converging in the center at a distance from the listener. Reverb was applied to enhance the perception of depth, while panning emphasized the directional movement, creating a more immersive spatial experience.

The final 8-step Entry Scene progresses from left to right, featuring a different panning approach. The reverb, used to convey a sense of distance, is also applied differently, resulting in a distinct spatial perception compared to the original version.

A few seconds after the Entry Scene, The Scale AV Game begins. Each glove is programmed to control a different musical scale—G Minor for the left glove and D Major for the right. The tilt of the left glove also controls a MIDI CC parameter. Currently, only one parameter is implemented to keep the setup simple, but I plan to expand this functionality by adding more MIDI CC parameters to control additional effects in future iterations.

I’ve chosen a simple Saw64 wave in Operator, with a touch of reverb and delay. When the left hand is tilted, the pitch of the note shifts by up to 100 cents, creating a “pulling” or “tuning string” effect in the sound.