Music Gesture can be thought of as being made up of dynamic, multisensorial lines. From this, the author draws from Ingold's “correspondence of lines” as a conception of music and a transformative compositional process, informing gestural line expressions and the development of notation systems for the body. The author outlines the technology he has developed for two compositions, involving a video scoring methodology and software that enables interactive video gestural sampling in a collaborative art music context. The author also engages with Ingold's concept of the “mesh,” as lines that overflow, and imagines how the mesh could be perceived through sensory modalities. This discourse of lines is contextualized through examples of absurdist instrumental pieces and corporeally based music.

中文翻译：

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多模态作曲实践中的音乐手势与线条的对应

Music Gesture 可以被认为是由动态的、多感官的线条组成。据此，作者将英戈尔德的“线条对应”作为一种音乐概念和一个变革性的创作过程，为手势线条表达和身体符号系统的发展提供信息。作者概述了他为两首作品开发的技术，包括视频评分方法和软件，可在协作艺术音乐背景下实现交互式视频手势采样。作者还参与了 Ingold 的“网格”概念，即溢出的线条，并想象如何通过感官方式感知网格。这种台词话语是通过荒诞的器乐作品和基于肉体的音乐的例子进行语境化的。