ABSTRACT. Pérez et al. claim that research on new interfaces for musical expression tends to primarily focus on innovative gesture measurement, extending traditional instruments' expressivity or creating completely new digital instruments. Kasparian thinks that the reasonable audience member can be expected to use their imagination to engage in the performance, rather than impute to the performer belief or endorsement of the message of every piece performed in a concert. Durrant proposes five "families" within which individual choral conducting gestures could be allocated: connotative gestures, literal gestures, helpful gestures, inappropriate gestures, and gestures shared with the singers themselves.

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