Mimetic Theory and Instrument Design
- Submitting institution
-
Staffordshire University
- Unit of assessment
- 34 - Communication, Cultural and Media Studies, Library and Information Management
- Output identifier
- Lists 18
- Type
- T - Other
- DOI
-
-
- Location
- -
- Brief description of type
- A multi-component output including two elements: a conference article and a journal article.
- Open access status
- Out of scope for open access requirements
- Month
- -
- Year
- 2017
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- Yes
- Number of additional authors
-
-
- Research group(s)
-
A - The C3 Centre: Creative Industries and Creative Communities
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The portfolio is made up of one conference paper published in 2016 and one journal article from 2017, first presenting the idea and design methods and critical underpinnings derived from principles informed by mimetic theories and then moving on to describing the implementation and incremental design stages.
The purpose of these design principles was to create new and innovative digital music instruments making use of mimetic theory. Even though mimetic theories are known to be important in the communication, engagement and expression of music
performance, this ongoing enquiry represented the first consolidated effort to develop design principles from mimetic theories.
In the first article, a development cycle is being proposed to evaluate and improve the design principles with a first prototype presented with generically applicable design principles described that draw from underlying theories around empathy,
communicative musicality and mimetic participation. The 2017 article revisited and deepened elements important for understanding basic interaction between visual, sounding and gestural aspects of experiencing instrument performance and
illustrated how music controllers are able to be enhanced through devising specific design concepts based on mimetic theory. A number of example instruments designed according to these principles were presented, specifically the BazerBow
and various later prototypes.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
