A Study On Human-Machine Interface Of Electronic Music And The Composition Mindset

This dissertation focuses on the composition mindset of electronic music in terms of humanmachine interface and its extended perspective.In part ?,the author conducted classification of the interface by shifting the concept of score and instruments to two major plain notions:"synchronic representation interface" and "diachronic representation interface".Moreover,based on the semiotic system method and the reviewing of the literature of NIME for the past two decades,further subdivision of interface was discussed,and a limited number of examples were sorted out.Meanwhile,the view of "total interface" was elaborated.Finally,limited discussion about the appliance of sensors was made.In Part ?,with ideas from general system theory,cybernetics,semiotics,the author conducted deduction about the composition mindset of electronic music from the perspective of interface.From the perspective of general system theory,the representative role of "node logic interface"and the componential role of interface were elaborated,and the idea of "interface material bank"was generated.Moreover,the author discussed the interpenetration of various interfaces,integrated system,and multimodality design.Furthermore,eight types of causal design model were deduced.In addition,six types of evolution models were deduced.With the ideas from cybernetics,the author discussed the issue of possibility space of various kinds of interfaces respectively.The virtuoso value of interfaces for musical expression caused by controlling ability was discussed.Also,based on efficacy,the author discussed the feedback sensory channels in terms of composition purpose and expression purpose respectively.Meanwhile,the concept of Newtonian time and Bergson's time,and the time law of electronic music composition were associated.Based on the ideas from semiotics,the author discussed the meaning of object,interpretant,signal of the text of "synchronic representation interface",and the issue of its metalanguage,and elaborated on the gaming of decoding right between human and machine,and that between different disciplines.Moreover,the author put forward a notion of "pre-interpretant" and its relative factors,as well as its rhetoric characteristics for electronic music.Last,the semiotic significance of the dedicated protocols of electronic music was mentioned.In part ?,the author analyzed three pieces of electronic music in terms of interface,and demonstrated the analytical effect of interface perspective to certain extent.