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Arts & Communication Composition based on singing gestures

Figure 2. Display of a gesture digraph in music space. Image created Yuwen Sun

a morphism (y, e): → x is a pair with y: R → P and e*: Z → As an established fact of music, sheet music, like articles,
K*, which are two diagraph morphisms. e* is derived from is the result of “frozen” creative thinking. In addition to
a continuous function e: Z → K. It is also required that the audience obtaining the linguistic information through
n⋅e* = x⋅y. Gestures, together with their morphisms, define reading and listening, the performer usually plays a good
a mathematical category. role in interpreting the spatial information. For example,
singers often consider adding their own understanding
Moreover, the set R@Z of gestures from R to Z* is again
a topological space. Therefore, the concept of hypergestures of musical facts to a new interpretation of the spatial
information of these works. To achieve this effect, the
can also be defined: a hypergesture is a gesture P → R@Z, singer needs to change the spatial information by reshaping
which denotes, in other words, gestures of gestures. gestures. In other words, the singer changes the encoding
The core result of hypergestures is the Escher Theorem: gestural order of this spatial representation of motion.
if R and P are both digraphs, and Z is a topological space, Hence, how do singers encode spatial motion
then the topological spaces R@P@Z and P@R@Z generated representations? First, the process of encoding is often
by exchanging the skeleta R and P are isomorphic. 6 related to human subjective thinking, such as emotions.
3. The principles of gestural generation of Many studies have shown that emotional states can be
consciousness inferred from human facial expressions. Specific facial
muscle movement configurations appear to broadcast or
Gestures arise from hand and body movements that people display a person’s emotions, which is why they are often
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often make when performing strenuous cognitive activities, referred to as emotional and facial expressions. The
such as speaking or problem-solving. Some studies have etymology of emotion, e-movere in Latin, means that in an
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shown that such gestures are often associated with spatial emotion, one produces a gestural movement from inside
information; for example, when discussing the size and to outside. Different expressions are like different codes
shape of objects, the layout of a room, and movement in corresponding to different gestures. The combination of
space. Therefore, many scholars believe that the creation these gestures representing different emotions makes the
of gesture has the function to express spatial information. melody created by the singer richer in its expressivity of
Seminal theories put forward by McNeill and Kendon colors.
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in 1992 suggested that gestures reflect mental images. It Some scholars have also done some comparative studies
is believed that the “growth point” behind any discourse and found that positive emotions tend to produce smoother
contains image and language information, and these physical gestures. This also means that different emotions
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mental images are the basis for the creation of gestures. will affect the transmission speed of gestural information.
The theory proposed by Kita and Özyürek in 2003 claims From another perspective, emotional expression not only
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that representational gesture originates from spatio- results in the movement of the human face or body, but
motoric representation, which encodes non-linguistic, the very process of emotional creation is itself a gesture.
spatial, and motor-attributed information. Their theory For example, when singers sing upbeat songs, they can’t
uses information as expressed in a gestural mechanism to help but raise their arms or smile. At the same time, in the
produce language. The phenomenon of interaction with spirit of this mood, the brain will continuously repeat these
spatial motion is the interface between facts and gestures. gestural instructions. In this case, the role of language in

Volume 2 Issue 4 (2024) 3 doi: 10.36922/ac.2625