What about mapping?

One major first step is the mapping process. Meaning in this case to categorize (electro acoustic) sounds on one hand and the 'direct' connection of visuals and the perceived sounds regarding the instrument on the other. As the motion graphic score should work for both at the same time, live electronics (using abstract, synthesized sounds, concrete sounds or live recordings) as well as analog (instrument) sounds, this task is vital and far from being trivial.

One fundamental source regarding electro acoustic sounds is L'Analyse de la musique électroacoustique: modèles et propositions by Stéphane Roy. Nevertheless, well known electro acoustic mapping approaches may not be the only source of information. There are other possibilities that should to be taken into consideration, like spatial body movement of the performer (1), or the analysis of already exisiting graphical notation scores. Especially regarding reoccuring graphical elements (2). Another interesting approach is Sonic Experience: A Guide to Everyday Sounds by Jean-François Augoyard and Henry Torgue. Where sounds are classified using sonic/auditory effects. In the end, it will be a mixture of several approaches.

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