What has been your favorite thing about living in Marseille, France, and working at the Institute of Movement Science?įor being a major French city, Marseille is special because of its access to the Mediterranean Sea and mountains. That being said, it’s clear that my previous work in music composition and performance has had a profound affect on my approach to sound.
My recent work has definitely been the most interesting and rewarding, because I get to synthesize my interests in sound, analysis and computer development for the purposes of studying sound and its effect on human behavior. Of them, which was the most interesting to you? You’ve conducted more than ten research projects in your career according to your website. SoniMove develops Human Machine Interfaces that provide gestural control of sound in the areas of sports and music, according to O’Brien. This research was part of a larger project called SoniMove, which is financed by the National Research Agency (Agence nationale de la recherche). “While the complete analysis will be available in a pending publication, I can say that certain synthesis parameters created more consistent swings across all subjects.” “Using the audio programming language Max/MSP, I developed the sounds used in the experiment through different combinations of synthesizers, mapping functions and other synthesis parameters,” he said. He then tested twenty subjects on whether the sounds he developed could help their golf swings. In September, he co-presented research at the International Symposium on Computer Music Multidisciplinary Research in Porto, Portugal, in which he turned the golf-putting motion into sound. O’Brien’s research satisfies intellectual curiosity, but it also has important real-world application. “These position values can be used to calculate, for example, the football’s velocity or acceleration, which, in turn, can be mapped and scaled to parameters for sound synthesis… we could choose to scale the football position in proportion to frequency and-assuming our quarterback has a great arm-we would expect to hear a frequency glissando.” “When a quarterback throws a football, its position vector changes over time,” O’Brien said. Composition ‘15) has answers, and he is applying them to sports and music. Isolate the playing field from the audience, and you might imagine sounds of cleats on grass, gloves touching the pigskin or players celebrating.īut what about the movement itself? How does the arcing motion of a thrown football translate to audio?Ĭollege of the Arts School of Music alumnus Benjamin O’Brien (Ph.D. If you’re a Gator, you might conjure up memories of The Swamp roaring or Mick Hubert delivering an iconic call over the airwaves.
What does a game-winning touchdown pass sound like?
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