scholarly journals Local Logics and the Gendering of Music Technology: A Newfoundland Case Study

2006 ◽  
Vol 26 (2) ◽  
pp. 49
Author(s):  
Beverley Diamond
Keyword(s):  
Music Technology ◽  
Local Logics

scholarly journals Talk for collaborative learning in computer-based music production

2019 ◽  
Vol 12 (2) ◽  
pp. 141-164 ◽  
Author(s):  
Elizabeth Dobson
Keyword(s):  
Collaborative Learning ◽  
Interaction Analysis ◽  
Common Knowledge ◽  
Music Technology ◽  
Contemporary Dance ◽  
Music Production ◽  
Computer Based ◽  
Connection Building ◽  
Micro Analysis

This article presents a case study exploring the interrelationship between talk and learning in collaborative computer-based music production. Framed by Neil Mercer and Karen Littleton’s Sociocultural perspective on collaborative learning, research on talk and ‘thinking together’ for learning, this study observed two undergraduate composers as they co-produced a contemporary dance film soundtrack across one academic term. The composers recorded their collaboration, providing data for a systematic moment-by-moment micro-analysis focusing on the audio-visual aspects of this project over twelve weeks. Sociocultural discourse analysis methods were used to explore how social, cultural and concrete situations shaped the students’ developing common knowledge. Interaction analysis has been used to code turn functions and display talk characteristics and patterns. This research found that collaborative computer music production is a ‘cumulative conversation’, comprised of many ‘thinking spaces’ that foster ‘post-dialogic’ activity’ and ‘connection building’. In this case the students developed new ‘tools for progressive discourse’ providing them access to the remote and private ‘thinking spaces’ that are characteristic of longer-term co-creating. This research argues for the development of new pedagogies that focus on understanding how talk shapes collaborative learning within music technology.

Incidental Music: a case study in the development of sound therapy

1995 ◽  
Vol 12 (1) ◽  
pp. 59-70 ◽  
Author(s):  
Phil Ellis
Keyword(s):  
Research Methodology ◽  
Learning Difficulties ◽  
Music Technology ◽  
New Music ◽  
Rigorous Analysis ◽  
Incidental Music ◽  
New Approach ◽  
Analysis And Evaluation ◽  
Sound Therapy

Incidental Music describes the early stages of the development of a new approach – sound therapy – for children who have severe learning difficulties (SLD) and profound and multiple learning difficulties (PMLD). Sound itself, including what we call ‘music’, in combination with aspects of new music technology, provide the basis for this approach. Sound therapy acknowledges the expressive potential of all sound with the aim of enabling and developing additional ways of communicating and expressing. A research methodology has been developed to enable a detailed, rigorous analysis and evaluation of observed phenomena. This is briefly described and a case study, based on the use of Soundbeam, reveals some aspects of sound therapy. I am grateful to the staff and pupils of the Lambert School for their help, encouragement, co-operation and warmth in enabling this project.

scholarly journals Integrating Score, Performance, and Medium in the work-concept: The HypeSax as a Case Study

2021 ◽  
Author(s):  
Cristohper Ramos Flores
Keyword(s):  
Creative Process ◽  
New Technologies ◽  
Close Relation ◽  
Music Technology ◽  
First Century ◽  
Musical Work ◽  
Technology Project ◽  
New Instrument ◽  
Work Concept

<p><b>This thesis presents a novel music-technology project, the HypeSax, which affords new roles to the saxophone and enhances its sound capacities. This document presents a discussion of the musical ideas and design criteria behind the development of this new instrument, addressing issues of embodiment that arise from the use of new technologies, and of what this new medium means in the discussion of the ontology of the musical work. This project is intended to research the medium through a case study, in which the medium becomes the central focus of my compositional decisions.</b></p> <p>As part of this project, a body of new musical works, associated with the HypeSax, was created. These compositions and the creative process from which they originated are analysed in relation to the HypeSax, questioning if the musical work is limited to the composition or if other processes such as the development of the medium, which in this case is the HypeSax, can be considered part of its ontology.</p> <p>The desire to understand and define the ontology of the musical work has led musicians, musicologists and philosophers to formulate multiple propositions that observe perspectives of creation and reception, as well as different ways in which these interact. This thesis proposes the integration of a new element in the conversation of the work-concept: the medium. The argument presented is that, in light of compositional practices in the twenty-first century, the creative work begins when musicians design instruments, software, audio setups, and other new technologies, actively transforming the medium through which their work works are created. Despite the fact that the medium has always been in close relation with the composition, performance and reception of the work, it has not been considered an element in the ontology of the work. Nevertheless, it becomes impossible to ignore the importance of the medium as new technologies facilitate its manipulation as a part of the creative process. </p> <p>New works featuring the HypeSax are discussed, as well as how this novel medium provides the affordances and possibilities that allow the creation of said works. This case study serves to demonstrate the importance of the medium in the context of a new tripartite model of the work-concept where score, performance and medium are integrated, in a non-hierarchical structure, as one inseparable reality of music.</p>

scholarly journals Transient soundscape production

2021 ◽  
Vol 10 (1) ◽  
pp. 142-157
Author(s):  
Daniel Walzer
Keyword(s):  
Narrative Analysis ◽  
Cultural Production ◽  
Music Technology ◽  
Steady Increase ◽  
Artistic Process ◽  
Music Production ◽  
The Past ◽  
Scholarly Output ◽  
A Site

Over the past decade, there has been a steady increase of scholarly output examining the multidisciplinary, creative, and theoretical aspects of sound and music production in the recording studio and beyond (Zagorski-Thomas & Bourbon, 2020; Bennett & Bates, 2019; Hepworth- Sawyer, Hodgson, & Marrington, 2019; Thompson, 2019; Zagorski-Thomas, 2014; Frith & Zagorski-Thomas, 2012). Accordingly, a broad range of literature examines sound as a widespread cultural phenomenon (Papenburg & Schulze, 2016) and an essential source for pedagogical and ethnographic modeling in music technology education (Bell, 2018). Advances in technology make the “studio,” long viewed as a site of artistic and commercial production, available to a broader group of composers, musicians, and artists. Similarly, portable digital recorders afford sound artists and fi eld recordists an expansive range of choices to conduct soundscape research and creative practice. What emerges is a hybrid “composer- producer” identity and a studio’s function in the artistic process. This growth is the rise of an independent and transient practice in soundscape production among multidisciplinary composers and musicians. This article advocates for an updated notion of soundscape composition that integrates fi eld recordings, studio production, and collaboration from musicians representing a broad range of stylistic infl uences. Positioning the studio as a site of cultural production and creativity has implications for how soundscape production is taught to young composers. The author argues for a more inclusive, process-oriented view on both creativity and the places where musicians, composers, and producers work. The article includes a case study from the author’s recent album project, narrative analysis, concluding with a discussion on the pedagogical implications of independent soundscape production in education.

Analysing Everyday Sound Environments: The Space, Time and Corporality of Musical Listening

2014 ◽  
Vol 8 (4) ◽  
pp. 426-442 ◽  
Author(s):  
Raphaël Nowak ◽  
Andy Bennett
Keyword(s):  
Young People ◽  
Everyday Life ◽  
Space Time ◽  
Music Technology ◽  
Music Consumption ◽  
Consumption Practices ◽  
Sound Environment ◽  
Age Range ◽  
Musical Listening

This article develops the notion of ‘sound environment’ as a new way of theorizing the relationship between music, audiences and everyday life. The article draws on findings from an empirical case study conducted with young people between the ages of 21 and 32. In focusing on this age range, we consider ‘mundane’ music consumption practices in contrast to the more ‘spectacular’ forms of youth cultural music consumption often documented in academic work. In an age characterized by the increasing omnipresence of music, young people hear or listen to music in various configurations, for example, by mobilizing a particular music technology and content or hearing music while shopping in a department store, visiting a friend at home, or travelling in an elevator. Drawing on the concept of the ‘sound environment’, this article looks at variables of space, time and body to explain the contextualization of music in everyday life.

scholarly journals Secondary school music education: A case study in adapting to ICT resource limitations

2009 ◽  
Vol 25 (4) ◽  
Author(s):  
Renée Crawford
Keyword(s):  
Secondary School ◽  
Secondary Schools ◽  
Music Education ◽  
Real Life ◽  
Music Technology ◽  
Music Teacher ◽  
Resource Limitations ◽  
The Status ◽  
Technology Resources

<span>This article explores the current availability and use of information communication and technology (ICT) for music education purposes, and music technology resources and facilities, in Victorian government secondary schools. Survey data is presented providing a snapshot of the status of computer and technology resources in government secondary schools in several Metropolitan Regions. Discussion is focused on a case study into one particular secondary school and the perceptions of one music teacher and her students regarding class music and ICT. While preferential treatment for resources, particularly access to ICT, was accorded to some disciplines, arts subjects such as music were frequently excluded. Results indicated that reforming music education to reflect contemporary music practice will not only engage student interest, but also assist in raising the status of music in the school curriculum by demonstrating its relevancy. An effective use of ICT and music technology can assist in emulating real life or authentic learning contexts to achieve this pedagogical change. However, a major challenge illustrated in this case study was the paucity of resources, a concern shared by many music educators. Nevertheless, the music teacher in this case study used the minimal resources at her disposal effectively, providing an exemplar of adapting to ICT resource limitations.</span>

scholarly journals Enabling Communities of Practice Surrounding the Design and Use of Custom Accessible Music Technology

2020 ◽  
Vol 44 (2-3) ◽  
pp. 9-23
Author(s):  
Alex Lucas ◽  
Franziska Schroeder ◽  
Miguel Ortiz
Keyword(s):  
Communities Of Practice ◽  
Group Performance ◽  
Music Technology ◽  
Software Components ◽  
Ethnographic Case Study ◽  
The Social ◽  
Sustained Use ◽  
Open Source Communities

Abstract In this article, the research group Performance without Barriers reflect on the process of collaboratively designing a custom guitar-inspired instrument with Eoin Fitzpatrick, a physically disabled musician from the Drake Music Project, Northern Ireland. As part of a longitudinal ethnographic case study designed to uncover factors that contribute to the longevity of custom assistive music technology, the authors monitored Fitzpatrick using this instrument over two months. The findings of this study inform a reflection on the social, technical, and environmental factors that the provision of such technology a reality. The authors make suggestions for ways to achieve long-term, sustained use. Custom technologies, seemingly unique on the surface, may well utilize similar underlying hardware and software components. Those involved in its design, fabrication, facilitation, and use could benefit from a concerted effort to share resources, knowledge, and skill as a mobilized community of practitioners. In such a pursuit, the authors recommend that practitioners consider strategies for managing the inherent complexity of digital technology. Fostering shared mental models within open-source communities can result in improved efficiency in the development of accessible music technology.

scholarly journals Integrating Score, Performance, and Medium in the work-concept: The HypeSax as a Case Study

2021 ◽  
Author(s):  
Cristohper Ramos Flores
Keyword(s):  
Creative Process ◽  
New Technologies ◽  
Close Relation ◽  
Music Technology ◽  
First Century ◽  
Musical Work ◽  
Technology Project ◽  
New Instrument ◽  
Work Concept

<p><b>This thesis presents a novel music-technology project, the HypeSax, which affords new roles to the saxophone and enhances its sound capacities. This document presents a discussion of the musical ideas and design criteria behind the development of this new instrument, addressing issues of embodiment that arise from the use of new technologies, and of what this new medium means in the discussion of the ontology of the musical work. This project is intended to research the medium through a case study, in which the medium becomes the central focus of my compositional decisions.</b></p> <p>As part of this project, a body of new musical works, associated with the HypeSax, was created. These compositions and the creative process from which they originated are analysed in relation to the HypeSax, questioning if the musical work is limited to the composition or if other processes such as the development of the medium, which in this case is the HypeSax, can be considered part of its ontology.</p> <p>The desire to understand and define the ontology of the musical work has led musicians, musicologists and philosophers to formulate multiple propositions that observe perspectives of creation and reception, as well as different ways in which these interact. This thesis proposes the integration of a new element in the conversation of the work-concept: the medium. The argument presented is that, in light of compositional practices in the twenty-first century, the creative work begins when musicians design instruments, software, audio setups, and other new technologies, actively transforming the medium through which their work works are created. Despite the fact that the medium has always been in close relation with the composition, performance and reception of the work, it has not been considered an element in the ontology of the work. Nevertheless, it becomes impossible to ignore the importance of the medium as new technologies facilitate its manipulation as a part of the creative process. </p> <p>New works featuring the HypeSax are discussed, as well as how this novel medium provides the affordances and possibilities that allow the creation of said works. This case study serves to demonstrate the importance of the medium in the context of a new tripartite model of the work-concept where score, performance and medium are integrated, in a non-hierarchical structure, as one inseparable reality of music.</p>

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