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dc.contributor.authorRoddy, Stephen
dc.date.accessioned2022-02-09T17:12:12Z
dc.date.available2022-02-09T17:12:12Z
dc.date.issued2017
dc.date.submitted2017en
dc.identifier.citationRoddy, Stephen, Composing the Good Ship Hibernia and the hole in the bottom of the world, AM '17: Proceedings of the 12th International Audio Mostly Conference on Augmented and Participatory Sound and Music Experiences, August 2017, Article No. 31, Pages 1–6en
dc.identifier.otherY
dc.descriptionPUBLISHEDen
dc.description.abstractThis paper explores topics in embodied cognition, soundscape composition and sonification. It explains the compositional decisions and technical considerations that went into the composition of the piece The Good Ship Hibernia, which is an example of embodied soundscape sonification. This explanation is undertaken within the context of an approach to both sonification design and music composition that accounts for and exploits the embodied aspects of meaning-making in auditory cognition as described in the embodied cognitive science literature.en
dc.language.isoenen
dc.relation.ispartofseriesACM International Conference Proceeding Series;
dc.relation.ispartofseriesPart F131930;
dc.rightsYen
dc.subjectData-drivenen
dc.subjectMusicen
dc.subjectCompositionen
dc.subjectSonificationen
dc.subjectFinancial Dataen
dc.titleComposing the Good Ship Hibernia and the hole in the bottom of the worlden
dc.typeConference Paperen
dc.type.supercollectionscholarly_publicationsen
dc.type.supercollectionrefereed_publicationsen
dc.identifier.peoplefinderurlhttp://people.tcd.ie/stroddy
dc.identifier.rssinternalid212888
dc.identifier.doihttp://dx.doi.org/10.1145/3123514.3123520
dc.rights.ecaccessrightsopenAccess
dc.identifier.orcid_id0000-0001-8491-3031
dc.identifier.urihttp://hdl.handle.net/2262/98075


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