scholarly journals The Role of Visual Feedback and Creative Exploration for the Improvement of Timing Accuracy in Performing Musical Ornaments

2012 ◽  
Vol 30 (2) ◽  
pp. 187-204 ◽  
Author(s):  
Renee Timmers ◽  
Makiko Sadakata ◽  
Peter Desain
Keyword(s):  
Visual Feedback ◽  
Music Performance ◽  
Feedback System ◽  
Creative Activity ◽  
Timing Accuracy ◽  
Creative Processes ◽  
Performance Skills ◽  
Temporal Precision ◽  
Exploration Behavior

in developing a visual feedback system for a creative activity such as music performance, the objective is not just to reinforce one particular manner of performing. Instead, a desirable characteristic might be that the visual feedback enhances flexibility and originality, in addition to contributing to performance precision. In an experimental study focused on the timing of a musical ornament, we examined whether the instruction to explore ornament timing in training trials with or without visual feedback leads to improved temporal precision in imitating target performances of the ornament, and whether visual feedback enhances the performance diversity during training. The study uncovered distinct strategies of exploration of the performance of the musical ornament and highlighted the dynamics of exploration behavior during training. Visual feedback enhanced exploration of temporal characteristics and influenced imitation accuracy. This study opens up educational possibilities for the training of performance skills and provides direction for further investigation of creative processes in performance.

scholarly journals Influencing and Interpreting Visual Input: The Role of a Visual Feedback System

2006 ◽  
Vol 26 (41) ◽  
pp. 10368-10371 ◽  
Author(s):  
E. Gruberg ◽  
E. Dudkin ◽  
Y. Wang ◽  
G. Marin ◽  
C. Salas ◽  
...  
Keyword(s):  
Visual Feedback ◽  
Feedback System ◽  
Visual Input

Creativity in Sociocultural Systems

2019 ◽  
pp. 269-284
Author(s):  
Dean Keith Simonton
Keyword(s):  
Macro Level ◽  
Historical Overview ◽  
Creative Activity ◽  
Cross Sectional ◽  
Individual Level ◽  
Short And Long Term ◽  
The Cross ◽  
Sociocultural Systems

Although psychologists typically see creativity as an individual-level event, sociologists and cultural anthropologists are more likely to view it as a sociocultural phenomenon. This phenomenon takes place at the level of relatively large and enduring collectives, such as cultures, nations, and even whole civilizations. This chapter reviews the extensive research on such macro-level creativity. The review begins with a historical overview before turning to the cross-sectional research on the creative Ortgeist, a subject that encompasses the factors that influence the relative creativity of both preliterate cultures and entire modern nations. From there the chapter turns to role of the Zeitgeist in affecting the creativity of civilizations across time—the rise and fall of creative activity. This research examines both quantitative and qualitative causes that operate both short- and long-term.

Creating with Constraints

2020 ◽  
Author(s):  
Robert Hasegawa
Keyword(s):  
Visual Art ◽  
Creative Activity ◽  
Georges Perec ◽  
Gyorgy Ligeti ◽  
Raymond Queneau ◽  
Art Forms ◽  
Musical Creativity ◽  
Process Constraints

Musicians have long framed their creative activity within constraints, whether imposed externally or consciously chosen. As noted by Leonard Meyer, any style can be viewed as an ensemble of constraints, requiring the features of the artwork to conform with accepted norms. Such received stylistic constraints may be complemented by additional, voluntary limitations: for example, using only a limited palette of pitches or sounds, setting rules to govern repetition or transformation, controlling the formal layout and proportions of the work, or limiting the variety of operations involved in its creation. This chapter proposes a fourfold classification of the limits most often encountered in music creation into material (absolute and relative), formal, style/genre, and process constraints. The role of constraints as a spur and guide to musical creativity is explored in the domains of composition, improvisation, performance, and even listening, with examples drawn from contemporary composers including György Ligeti, George Aperghis, and James Tenney. Such musical constraints are comparable to self-imposed limitations in other art forms, from film (the Dogme 95 Manifesto) and visual art (Robert Morris’s Blind Time Drawings) to the writings of authors associated with the Oulipo (Ouvroir de littérature potentielle) such as Georges Perec and Raymond Queneau.

scholarly journals God, New Natural Law Theory, and Human Rights

Religions ◽  
2021 ◽  
Vol 12 (8) ◽  
pp. 613
Author(s):  
Christopher Tollefsen
Keyword(s):  
Human Rights ◽  
Natural Law ◽  
Two Dimensions ◽  
Natural Rights ◽  
Creative Activity ◽  
Adequate Account ◽  
Full Theory ◽  
Natural Law Theory ◽  
Epistemological Dimension

Critics of the “New” Natural Law (NNL) theory have raised questions about the role of the divine in that theory. This paper considers that role in regard to its account of human rights: can the NNL account of human rights be sustained without a more or less explicit advertence to “the question of God’s existence or nature or will”? It might seem that Finnis’s “elaborate sketch” includes a full theory of human rights even prior to the introduction of his reflections on the divine in the concluding chapter of Natural Law and Natural Rights. But in this essay, I argue that an adequate account of human rights cannot, in fact, be sustained without some role for God’s creative activity in two dimensions, the ontological and the motivational. These dimensions must be distinguished from the epistemological dimension of human rights, that is, the question of whether epistemological access to truths about human rights is possible without reference to God’s existence, nature, or will. The NNL view is that such access is possible. However, I will argue, the epistemological cannot be entirely cabined off from the relevant ontological and motivational issues and the NNL framework can accommodate this fact without difficulty.

ROLE DEVELOPMENT OF STUDENT’S CREATIVE ABILITIES

2020 ◽  
Vol 20 (2) ◽  
pp. 61-68
Author(s):  
Ismail Altynbilek ◽  
Keyword(s):  
Creative Activity ◽  
Spiritual Values ◽  
Creative Ability ◽  
Current Role ◽  
Modern Education ◽  
Creative Abilities ◽  
The Individual ◽  
Psychological Features ◽  
Development Of Students

This article discusses the modern education system, strengthening the requirements for teachers to educate the individual as free, creative, cultural and active, as well as the current role of the development of creative abilities in students. Also, based on scientists’ researches, the meaning and content of concepts such as creativity, creative activity, ability, and the fact that these concepts provide an opportunity to define the concept of “student's creative ability” are written. It was found out that creative ability is a complex of individual psychological features that successfully allow you to implement actions that meet all the requirements for creating material and spiritual values, as well as for inventing new products and findings. In the framework of the study of issues on the restoration and development of students' creative abilities, the components of students' creative abilities development are presented.

scholarly journals Investigating the feasibility and acceptability of real-time visual feedback in reducing compensatory motions during self-administered stroke rehabilitation exercises: A pilot study with chronic stroke survivors

2019 ◽  
Vol 6 ◽  
pp. 205566831983163 ◽  
Author(s):  
Shayne Lin ◽  
Jotvarinder Mann ◽  
Avril Mansfield ◽  
Rosalie H Wang ◽  
Jocelyn E Harris ◽  
...  
Keyword(s):  
Pilot Study ◽  
Upper Extremity ◽  
Visual Feedback ◽  
Feedback System ◽  
Optimal Recovery ◽  
Chronic Stroke ◽  
Stroke Survivors ◽  
Perfect Agreement ◽  
Rehabilitation Programs ◽  
Shoulder Elevation

Introduction Homework-based rehabilitation programs can help stroke survivors restore upper extremity function. However, compensatory motions can develop without therapist supervision, leading to sub-optimal recovery. We developed a visual feedback system using a live video feed or an avatar reflecting users' movements so users are aware of compensations. This pilot study aimed to evaluate validity (how well the avatar characterizes different types of compensations) and acceptability of the system. Methods Ten participants with chronic stroke performed upper-extremity exercises under three feedback conditions: none, video, and avatar. Validity was evaluated by comparing agreement on compensations annotated using video and avatar images. A usability survey was administered to participants after the experiment to obtain information on acceptability. Results There was substantial agreement between video and avatar images for shoulder elevation and hip extension (Cohen's κ: 0.6–0.8) and almost perfect agreement for trunk rotation and flexion (κ: 0.80–1). Acceptability was low due to lack of corrective prompts and occasional noise with the avatar display. Most participants suggested that an automatic compensation detection feature with visual and auditory cuing would improve the system. Conclusion The avatar characterized four types of compensations well. Future work will involve increasing sensitivity for shoulder elevation and implementing a method to detect compensations.

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