1,721,000 research outputs found
Sound thinking : tips and tools for understanding popular music
No full textSound Thinking provides techniques and approaches to critically listen, think, talk and write about music you hear or make. It provides tips on making music and it encourages regular and deep thinking about music activities, which helps build a musical dialog that leads to deeper understanding
Designing relational pedagogies with jam2jamXO
No full textThis paper examines the affordances of the philosophy and practice of open source and the application of it in developing music education software. In particular I will examine the parallels inherent in the ‘openness’ of pragmatist philosophy in education (Dewey 1916, 1989) such as group or collaborative learning, discovery learning (Bruner 1966) and learning through creative activity with computers (Papert 1980, 1994). Primarily I am interested in ‘relational pedagogies’ (Ruthmann and Dillon In Press) which is in a real sense about the ethics of the transaction between student and teacher in an ecology where technology plays a more significant role. \ud
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In these contexts relational pedagogies refers to how the music teacher manages their relationships with students and evaluates the affordances of open source technology in that process. It is concerned directly with how the relationship between student and teacher is affected by the technological tools, as is the capacity for music making and learning. In particular technologies that have agency present the opportunity for a partnership between user and technology that enhances the capacity for expressive music making, productive social interaction and learning. In this instance technologies with agency are defined as ones that enhance the capacity to be expressive and perform tasks with virtuosity and complexity where the technology translates simple commands and gestures into complex outcomes. The technology enacts a partnership with the user that becomes both a cognitive and performative amplifier. Specifically we have used this term to describe interactions with generative technologies that use procedural invention as a creative technique to produce music and visual media
Jam2jam : network jamming
No full textGenerative algorithms have been used for many years by computer musicians like Iannis Xenakis (Xenakis) and David Cope (Cope) to make complex electronic music composition. Advances in computer technology have made it possible to design music algorithms based upon specific pitch, timbre and rhythmic qualities that can be manipulated in real time with a simple interface that a child can control.jam2jam (Brown, Sorensen, & Dillon) is a shareware program developed in java that uses these ideas and involves what we have called Networked Improvisation, which ‘can be broadly described as collaborative music making over a computer network’ (Dillon & Brown)
AV jam
No full textSummary\ud
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AV-Jam is an application that generates music and video that you can control while it plays.\ud
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It is collaborative interactive artwork, enabling its subjects to jointly control the music and video using a network of control surfaces connected to a computer. Clever algorithmic processes generate music and video that shape the result by adjusting parameters on the AV-Jam interface. The user is able to jam just like a musician, but without the need for complex instrumental skills. It is particularly aimed at providing access to novice users. Though the AV-Jam system was designed to promote meaningful engagement with media art for people of all ages, it is specifically designed to encourage collaboration between children by facilitating the creation of media rich experiences that might otherwise require more advanced skills of a DV and VJ.\ud
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Research Focus\ud
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The focus of AV-Jam's collaborators is to encourage audience members to experiment and listen to the sound, generating an atmosphere of relaxed music. One can watch the video and adjust the visuals for their own personal aesthetic effect on their immediate space.\ud
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Previous prototypes also promote working with others to control all parts of the music and video. The key to success is to take risks, be creative and listen to the sounds that your actions make. Networked jamming embraces the computer as medium of expression, the network as a team and cyberspace as venue.\ud
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Networked jamming systems, such as AV-Jam, provide learning opportunities based on real-time improvisation. Such environments provide interaction as a public and enjoyable opportunity, accessible in the contemporary and familiar format of virtual and present collaborative learning spaces. The benefits of networked jamming are that it makes creative activities accessible and engaging. It embodies creative knowledge in an audio/visual environment allowing simultaneous reflective discussion or demonstration of musical understanding. A networked jamming environment provides opportunities to develop creativity skills while taking into account technical and interpersonal skills relevant to experimental and interactive artworks in a prototype phase. AV-Jam uses dynamic music technologies developed by the Creative Communities project of the Australasian CRC for Interaction Design (ACID)
Assessing the positive influence of music activities in community development programs\ud
No full textAbstract \ud
This article describes a framework for assessing the positive influence of music activities in community development programs. It examines hybrid music, health and rich media approaches to creative case study with the purpose of developing more compelling evidence based advocacy that examines the claims of a causal link. This preliminary study examines the problems with the research methods and seeks to design a more media inclusive approach that allows music experience to be heard in more compelling ways than text alone. The framework outlined in this paper provides a measure of effectiveness for community development programs that integrates social and cultural aspects. The framework connects notions of resilience as a fundamental building block for healthy communities with indicators of musical meaning and engagement. These indicators have previously been used individually in evaluating the effectiveness of music experience. This article reports on an exploratory research project that utilises this framework across a series of case studies in several culturally diverse Australian communities. The relevance of the research is that it seeks to identify the critical components of music education that have significant transferable implications for community development programs. \u
Jam2Jam : networked jamming\ud
No full textThe initial development of jam2jam began with a survey of the musical tastes of a group of children between the ages of 8-14 in a multi racial community in Delaware, Ohio in the USA as part of the Delaware Children’s Music Festival in 2002. These surveys of ‘the music they liked’ resulted in the researchers purchasing Compact Discs and completing a rule based analysis of the styles. This analysis was then converted into numerical values and algorithms were constructed and used as a structure for the software. The algorithms propose the intensity of range of each style. For example, in the Grunge style the snare drum at low intensity plays a cross stick rim timbre on the second and fourth beat and at high intensity the sound becomes a gated snare sound and plays rhythmic quaver/eighth note triplets. In between these are characteristic rhythmic materials that are less complex than the extreme (triplets). This procedure is replicated across five instruments; drums, percussion, bass, guitar and keyboard. The melodic instruments have algorithms for pitch organisation within the possibilities of the style. These algorithms are the recipes or lesson plans for interactive music making where the student’s gestures control the intensity of the music as it composes in real time
DIScoveringABILITIES : creating interactive performances over the Internet
No full textThis article presents a case study that shows how a creative music educator uses the internet to enable participatory performance
Refocusing the ‘I’ : developing a research agenda for meaningful music making for life
No full textAbstract:\ud
Teaching and learning music in the 21st century in classrooms, studios and community setting is complex. The role and function of music making in contemporary society globally is problematised by cultural, technological and popular notions of what music is and our shifting relationship to it. This paper argues that we need to refocus music education on identity, intrinsicality, inclusion and interpersonal relationships a refocusing of the ‘I’ to give access to meaningful music making for all for life. The paper summarises the author’s research into music and meaning which provides an examination of pragmatist philosophy in practice through the notions of the student as maker, teacher as builder and the school as village. In conclusion, a framework for further research is offered that seeks to highlight the key issues facing post-colonial music education.\ud
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