When Alvin Lucier premiered his Music for Solo Performer in 1965, he became one of the earliest users of brain signals for composition and performance (Straebel and Thoben, 2014). Since then, many more musicians, artists, and scientists have continued to explore the ideas and questions inherent in such a demonstration. Such questions included how one goes about creating a sonification system, what exactly is it that is being sonified and how, and more fundamental issues with defining emotions and technologies. As the discussion of this paper progresses to the more technical aspects, it will begin to resemble a manual of sorts, a handbook for the exploration of incorporating the sonification of emotions into live performance. The ultimate aim of this paper is to answer these questions and discuss ideas for continuing the concept Lucier presented at his piece’s premier.
Emotions and Music
What are emotions?
Emotions are something people come into contact with on a daily basis, however, despite having an innate understanding of the phenomena, it proves far more complex when attempting to define it within scientific terms. Traditionally, there have been three models for understand emotion. The first, developed by Ekman (1992,2003) and Izard (1977, 1992), is basic emotion theories, which suggests that a specific event triggers specific emotions and related response patterns (Scherer, 2009). The second, supported by James (1890), Schacheter & Singer (1962), Russell (2003), and…