A Spectro-gestural-morphological Analysis of a Musical-tactile score
Résumé
In the following article the author will compare a musical and a tactile score in the specific case study represented by Rieko Suzuki's tactile score transcription of Friedrich Chopin's posthume Nocturne n° 20 in C sharp minor. In the intention of the author this comparison will show its correlations between sound, movement and musical representation and will highlights the common features of musical and the tactile notation. To conduct this analysis it will be compared the movement indicated by the musical score and the ones prescribed by the tactile score applying and expanding Denis Smalley's spectromorphological analysis towards a spectro-gestural-morphological analysis. For this reason the author invite the reader to refer to Smalley's explanation of spectromorphological analysis (Smalley 1997). This research must be considered as a contribution related with the actual debate on sonification (Hermann, Hunt, Neuhoff 2011) musical cognition (Launay 2015, Schaefer 2015) and mediation (Leman 2007) and will implicitly suggest a possible artistic application of tactile scores as basis of new compositional techniques. 1. Tactile scores Tactile scores were created by Rieko Suzuki in order to describe and design tactile sense. Those scores are used to notate actions oriented to massage and to transmit those informations in order to create a repertory of " massage pieces ". They are used to transcribe musical works in massage's scores (in the case of tactile scores based on preexisting music), to compose music, to develop emotional engineering and haptic design (Suzuki, Suzuki 2014). Tactile scores are the result of a long process of elaboration based on trials and errors that brings to define the most important massage's parameters: dimension, pressure and speed. During this period, in which Rieko Suzuki tried new massage's strategy with her customers, tactile scores became more detailed, from hieroglyphic-like inscription to diastematic notation, and progressively reveal common features with musical scores expressing a certain proximity between tactile and musical experience. In fact, as Rieko Suzuki wrote: […] counts and rhythm are important in tactile perception; a single circular stroke could not be distinguished from a mere rubbing, while more than double strokes would be recognized as massage. By giving rhythm on a tactile sense, we can create " impressions " ; a rhythm of touching gives a " theme " on the impression provoked by tactile sense, where the theme is the expression through tactile sense such as small-large, fast-slow, line-curve and so on; in a sequence of massage strokes starts from small circles then moves to large circles and small circles again, à subject would feel small and large (Suzuki,
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