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Arts & Communication Composition based on singing gestures

very slow music processing, it can be seen that singers’ relationships at three layers in music ontology, we
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bodies are often not in a very active state. They often show deduced the impact of the creation of singer’s gesture
a state of musical enjoyment on their faces. In terms of on music facts and combined it with practice by
pitch changes, if the interval span of the front and back applying concrete gestures in composition.
notes is large, the singer will often prepare in advance, as (3) This research has paved the way for multiple future
shown through micro-expressions. For example, when directions. In addition to encouraging more flexible
singing a high note, the opera singer will breathe fully, and free improvisation in music performance, it is
and before singing the high note, he/she will raise the soft also likely to help foster the use of artificial intelligence
palate in preparation for singing the high note. In terms (AI) in future music creation. Human expressions
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of volume, for improvisational compositions, there is a have been extensively analyzed by AI, which generates
process of increasing or decreasing the volume. When a a large amount of data about emotions through
singer performs a passage with a high volume, one’s body human facial micro-expressions. When applying this
will often be in a more active state to help one’s voice technology in analyzing a singer’s creative gesture,
have a stronger explosive power to express this emotion. musical works created by the human spirit may be
Handling quiet pieces of music is just the opposite. 25 produced more efficiently in large numbers.

8. Conclusion Acknowledgments
This article presents an in-depth analysis based on a None.
singer’s gestures for two reasons: First, in recent years, there
have been very few documents that study the connection Funding
between singing gesture theory and composition theory; None.
therefore, a gap in this aspect motivated the discourse
of this article. Second, gestures produced by a singer are Conflict of interest
the only performance form that is not enabled by other
instruments; therefore, such a performance process will be The authors declare that they have no competing interests.
more internal and directly linked to the brain’s information Author contributions
processing. We believe the insights from our analysis can
help reduce the obstacles to the direct creation of music by Conceptualization: All authors
gesture. Formal analysis: All authors
From the previous discussion, we learn that music, in Investigation: All authors
its three-dimensional factual ontology, is generated by Methodology: Guerino Mazzola
the superposition of different musical gestures. Its core Writing – original draft: All authors
musical facts include musical scores, and its dynamic Writing – review & editing: All authors
performative trajectory generated by the movement of Ethics approval and consent to participate
gestural combinations. Such an operating logic forms the
four-dimensional hypercube ontological model of music. Not applicable.
The major conclusions of the current analysis can be
summarized as follows: Consent for publication
(1) There is an objective logic to the singer’s posture when Not applicable.
improvising on music creation. In the logic of the
traditional music system, facts are used as causes, and Availability of data
gestures are produced as results. As opposed to this Not applicable.
approach, this article focuses on gesture as the basis
of creation and reversely analyzes its results, that is, References
musical facts. This results in a new logical system, the
logical system of gestural creation. 1. Adorno TW, Lonitz H. Towards a Theory of Musical
(2) This objective logic is detailed in three sections in this Reproduction. Polity Press Cambridge; 2006
paper. First, we derived emotional gestures based on 2. Mazzola G, Cherlin PB. Flow, Gesture, and Spaces in Free
the geometric representation of the gestural skeleton. Jazz: Towards a Theory of Collaboration. Germany: Springer
Second, we comprehended the specific structure of Science and Business Media; 2008.
music ontology and learned the causal relationships 3. Meyer LB. Style and Music: Theory, History, and Ideology.
at three ontological layers. Finally, based on the logical Chicago: University of Chicago Press; 1996.

Volume 2 Issue 4 (2024) 7 doi: 10.36922/ac.2625