The use of 3D mapping for art is not novel. Trisha Brown’s Locus uses this same 3D system in order to create a dance based on motifs from the sentence, “at reed college in portland oregon and then as adjunct assistant professor at New York University 1967 (Appendix B.D.a).” Much of Trisha Brown’s work is based on this idea of motivic development. With this idea of motivic development, a statement from Kirnberger appears: “A simple melody is like a dance: it must be able to stand on its own feet (Kirnberger, 1982).” This idea can be seen in an inverse manner with Trisha Brown’s Accumulation (Appendix B.D.b). Trisha took small movements and slowly combined other small movements in order to culminate in a thoroughly composed choreography. While dance is of a different medium than dance, this concept of motivic development of movement maps to the compositional practice through the idea of ‘One mind, any weapon.’ In addition to dance, the 3D mapping of snare drumming shares that same application through MCMAP’s philosophy. For harmony, there is a way to map scales and triads in a manner that reflects the detail of motion capture studies for snare drumming.
(insert videos of Rumba)
(insert video of Rumba singing recital)