1,025 research outputs found
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)
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
Navigating technological contexts and experience design in music education
No full textFor some time we have jokingly referred to our network jamming research with jam2jam as ‘Switched on Orff’ (Brown, Sorensen and Dillon 2002; Dillon 2003; Dillon 2006; Dillon 2006; Brown and Dillon 2007). The connection with electronic music and Wendy Carlos’ classic work ‘Switched on Bach’ was obvious; we were using electronic music in schools and with children. The deeper connection with Orff however was about recognising that electronic music and instruments could have cultural values and knowledge embedded in their design and practice in same way as what has come to be known as the Orff method (Orff and Keetman 1958-66). However whilst the Orff method focuses upon Western art music perceptual framework electronic instruments have the potential to have more fluid musical environments and even to move to interdisciplinary study by including visual media. Whilst the Orff method focused on making sense of Western art music through experience electronic environments potentially can make sense of the world of multi media that pervades our lives
Music is a Wordless Knowing of Others : Resilience in Virtual Ensembles
No full textMusic making affects relationships with self and others by generating a sense of belonging to a culture or ideology (Bamford, 2006; Barovick, 2001; Dillon & Stewart, 2006; Fiske, 2000; Hallam, 2001). Whilst studies from arts education research present compelling examples of these relationships, others argue that they do not present sufficiently validated evidence of a causal link between music making experiences and cognitive or social change (Winner & Cooper, 2000; Winner & Hetland, 2000a, 2000b, 2001). I have suggested elsewhere that this disconnection between compelling evidence and observations of the effects of music making are in part due to the lack of rigor in research and the incapacity of many methods to capture these experiences in meaningful ways (Dillon, 2006). Part of the answer to these questions about rigor and causality lay in the creative use of new media technologies that capture the results of relationships in music artefacts. Crucially, it is the effective management of these artefacts within computer systems that allows researchers and practitioners to collect, organize, analyse and then theorise such music making experiences
Canidia ochreostictica Dillon, New combination
No full textCanidia ochreostictica (Dillon), New combination Figs. 3 f, 5 h, 6 b, 7 h, 9 h; Map 1 Pseudocanidia ochreosticticus Dillon, 1956: 105; Gilmour, 1965: 581; Monné and Giesbert, 1993: 261; Monné and Giesbert, 1995; Monné and Hovore, 2004. Type locality: Tancitaro, Michoacán, Mexico. Specimens examined: 17, including the holotype. Known from a small area in westcentral Mexico (Map 1). Remarks: Among the species with a rounded apical process on the scape, C. ochreosticticus is distinctive in the relatively shorter and narrower form of the pronotum. The typically bright reddishbrown integument is also unique, although a few specimens assignable to this species are darker. Wellmarked specimens have indistinct, pale, oblique lines at the basal onethird and near the middle of each elytron, but generally indistinct in comparison to C. chemsaki. While similar to C. chemsaki, this species also differs in lacking the transverse calli on the apical third of the pronotum. These characters, when combined with the restricted distribution, will clearly distinguish C. ochreostictica.Published as part of Wappes, James E. & Lingafelter, Steven W., 2005, (Coleoptera: Cerambycidae, Lamiinae, Acanthocinini), pp. 1-27 in Zootaxa 927 on page 9, DOI: 10.5281/zenodo.17110
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)
Canidia canescens Dillon, New combination
No full text<i>Canidia canescens</i> (Dillon), New combination <p>Figs. 3 c, 4d, 5d, 6a,d, 7d, 8, 9d; Map 2</p> <p> <i>Canidiopsis canescens</i> Dillon, 1955: 184; Gilmour, 1965: 581; Monné and Giesbert, 1993: 243; Monné and Giesbert, 1995; Monné and Hovore, 2004. Type locality: Nayarit, Mexico, 3 mi S Tepic.</p> <p> <i>Dectes mexicanus</i>, “form a”, Bates, 1881: 174.</p> <p>Specimens examined: 50, including the holotype and seven paratypes. Found in west­central Mexico (Map 2).</p> <p> Remarks: Recognizable by the uniform gray pubescence, sparsely punctate pronotal disk, and geographical distribution. <i>Canidia giesberti</i>, new species, is similar in general appearance but is separable from <i>C. canescens</i> by the weakly carinate to rounded form of the scape and its apical process, as well as its more southern distribution.</p>Published as part of <i>Wappes, James E. & Lingafelter, Steven W., 2005, (Coleoptera: Cerambycidae, Lamiinae, Acanthocinini), pp. 1-27 in Zootaxa 927</i> on pages 3-4, DOI: <a href="http://zenodo.org/record/171108">10.5281/zenodo.171108</a>
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
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