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Table 12.2
Mapping ICA
activation values onto musical
dynamics
Finally, once a new segment has been generated, it is orchestrated and appended
to the respective score of the new movement accordingly. The fMRI occasionally
in
uenced the instrumentation and the orchestration. For instance, in
Philosopher
,
the second movement, different ICA components were associated with groups of
instruments of the orchestra (e.g. ICA 25 = violins and violas, ICA 15 = trumpets
and horns, ICA 14 = oboes and bassoons and so on); these associations changed
from section to section. Then, for example, if the
flute is to play in a certain measure
x
of
Philosopher
, the ICA activation value of the respective component in measure
x
of Beethoven
'
s music would de
ne how the
flute player should produce the notes.
We de
ned various tables mapping ICA activations to instrumental playing tech-
niques and other musical parameters. For instance, Table
12.2
shows a mapping of
ICA activations onto musical dynamics.
As a hypothetical example, let us consider a case where the
flutes would play the
sequence shown in Fig.
12.8
in measures 5, 6 and 7 of the third movement
:
Composer
. If we assume that the
flute is associated with ICA 8, then according to
the values shown in Table
12.1
, the activations for measure 5, 6 and 7 are equal to
4, 5 and 6, respectively. Thus, the dynamics attributed to these 3 measures would be
as shown in Fig.
12.9
.
Fig. 12.8
Three new measures for the
utes
Fig. 12.9
The measures from Fig.
12.8
with added dynamics informed by fMRI information
