Tele-improvisation : a multimodal analysis of intercultural improvisation in networked music performance

University of Technology, Sydney. Faculty of Arts and Social Sciences.This thesis presents an interdisciplinary, practice-led framework for the analysis of intercultural musical interaction in tele-improvisation (musical improvisation via telecommunication systems). Recent developments in network technology and high-speed broadband have created unprecedented opportunities for hitherto improbable meetings between musicians of different cultures to improvise with one another across global distances. While network technology eliminates distance in geographical space, signifiers of presence such as co-located acoustics, gesture, facial expression and body language are not available to mediate this experience. Video streaming of dispersed locations and collaborators cannot replace the essential nuances of co-located performative interaction. Most research in this field has focused on improving technical and interactive network music performance, highlighting the need for an evaluative framework and language for revealing musicians creative and strategic thought-processes. This thesis examines the approaches and strategies that musicians develop to perform with unknown and geographically dispersed collaborators through its analysis of three case studies that feature musicians improvising in the telematic music system eJamming. The analysis employs a social semiotic analytical framework combining multimodal discourse analysis (MDA), and ideas from the related field of cognitive linguistics (CL). This multimodal approach employs MDA to analyse music, sound, gesture and transcripts of networked musicians’ reflective experiences of tele-improvised musical interaction. These transcripts are examined through an interpretive framework of conceptual metaphor theory that enables an understanding of the ways in which musicians perceive and structure their interaction. The innovation of the proposed framework provides a pedagogical model for musicians and researchers to learn about cross-cultural musicians’ interaction in the rapidly growing field of Networked Music Performance (NMP). The main contributions of this thesis are: • A framework for the analysis of interaction in intercultural tele-improvisation; • An evaluation of cross-cultural musicians’ approaches and strategies to tele-improvisation; and • A theory of intercultural interaction in tele-improvisation

Singing in Action : An inquiry into the creative working processes and practices of classical and contemporary vocal improvisation

This dissertation explores performative perspectives on classical and contemporary vocal improvisation (CCVI) as a critical, creative tool for development of and research in vocal performance. It consists of one introductory part and five articles, with additional documentation on a homepage. The artistic projects have been performed in close collaboration with fellow classically trained singers and musicians. The practice of CCVI is contextualised in relation to vocal history, opera, improvisation practice(s) and research in vocal performance. The artistic methods of opera improvisation, lyrical improvisation and CCVI without words are described in text and video. The studies performed also investigate how theoretical concepts such as performativity, action and interperformativity can be used for articulating aspects of communication, creativity and knowledge in CCVI. Central to the thesis is a suggested model for analysing performativity in three dimensions: the structural, the symbolic and the individual. Performative aspects of the singer’s subject positions as a vocal and instrumental persona in a classical vocal concert approach and an opera performance approach are articulated and problematised in the artistic practice. New artistic performance concepts and projects are presented. CCVI is used as a creative artistic tool for singers in critical dialogue with classical vocal performance tradition: deconstructing methods of portraying gender and power in operatic performance; opera improvisation with symphonic orchestra; composed and improvised opera with choirs; abstract improvisation in dialogue with visual art; improvisation with poetry and electronics and deconstructing Lied performance in dialogue with light design. An interview study focusing on the experiences and perspectives of the improvisers indicate that presence, relations to one another in the ensemble, relations to the emerging material, and the creation of common agreements and structures are central in CCVI. Three analytical models focusing on interaction in CCVI are presented: action analysis in improvisation, the Interplay Analysis Model and the use of the concept musico-performative tropes. It is suggested that improvisers in CCVI create music, text and dramatic content as vocal and musical actions by the intuitive use of musical and performative tropes in an interperformative play with the performance context as well as the classical singing tradition

Does Improvisation Help or Hinder Planning in Determining Export Success? Decision Theory Applied to Exporting

Exporting enables organizations to diversify risk and generate multiple income streams. In turn, the ability to make good export decisions is purported to be a main determinant of performance. Although substantive export decisions are well researched, little is known about how export decisions should be made in practice and whether different decision-making approaches should be combined. This study addresses this gap using decision theory; the authors assess the interaction of planning and improvisation and examine the impact of these approaches on export responsiveness and export performance. They develop a conceptual model through exploratory research and test it through structural equation modeling. The authors seek insights into the results through post hoc in-depth interviews and conclude that improvisation has multiple dimensions (spontaneity, creativity, and action orientation) and that there is no one “best way” for export managers to make decisions. Furthermore, export planning can enhance economic performance but detract from customer performance. In addition, improvisation improves responsiveness, whereas action orientation leads to greater customer performance and results in greater responsiveness with regard to planning. However, export managers should be wary of spontaneity and creativity, because they detract from planning outcomes

Component attention network for multimodal dance improvisation recognition

Dance improvisation is an active research topic in the arts. Motion analysis of improvised dance can be challenging due to its unique dynamics. Data-driven dance motion analysis, including recognition and generation, is often limited to skeletal data. However, data of other modalities, such as audio, can be recorded and benefit downstream tasks. This paper explores the application and performance of multimodal fusion methods for human motion recognition in the context of dance improvisation. We propose an attention-based model, component attention network (CANet), for multimodal fusion on three levels: 1) feature fusion with CANet, 2) model fusion with CANet and graph convolutional network (GCN), and 3) late fusion with a voting strategy. We conduct thorough experiments to analyze the impact of each modality in different fusion methods and distinguish critical temporal or component features. We show that our proposed model outperforms the two baseline methods, demonstrating its potential for analyzing improvisation in dance.Comment: Accepted to 25th ACM International Conference on Multimodal Interaction (ICMI 2023

Volatility spillovers across European stock markets under the uncertainty of Brexit

Exporting allows organizations to diversify risk and generate multiple income streams. In turn, the making of good export decisions is purported to be a main determinant of performance. While substantive export decisions are well researched, little is known about how export decisions should be made in practice, and whether different decision-making approaches should be combined. This study addresses this gap using decision theory; the interaction of planning and improvisation is assessed and their impact on export responsiveness and export performance is examined. A conceptual model is developed through exploratory research and tested through structural equation modelling. Insights into the results are then sought via post-hoc in-depth interviews. We conclude that improvisation has multiple dimensions (spontaneity, creativity and action-orientation), and that there is no one ‘best way’ for export managers to make decisions. Furthermore, export planning can enhance economic performance but detract from customer performance. Meanwhile, improvisation improves responsiveness, while action-orientation leads to greater customer performance and results in greater responsiveness with regard to planning. Export managers should be wary though of spontaneity and creativity, as they detract from planning outcomes

Speech-Gesture Mapping and Engagement Evaluation in Human Robot Interaction

A robot needs contextual awareness, effective speech production and complementing non-verbal gestures for successful communication in society. In this paper, we present our end-to-end system that tries to enhance the effectiveness of non-verbal gestures. For achieving this, we identified prominently used gestures in performances by TED speakers and mapped them to their corresponding speech context and modulated speech based upon the attention of the listener. The proposed method utilized Convolutional Pose Machine [4] to detect the human gesture. Dominant gestures of TED speakers were used for learning the gesture-to-speech mapping. The speeches by them were used for training the model. We also evaluated the engagement of the robot with people by conducting a social survey. The effectiveness of the performance was monitored by the robot and it self-improvised its speech pattern on the basis of the attention level of the audience, which was calculated using visual feedback from the camera. The effectiveness of interaction as well as the decisions made during improvisation was further evaluated based on the head-pose detection and interaction survey.Comment: 8 pages, 9 figures, Under review in IRC 201

Modes of communication during jazz improvisation

This study investigated modes of communication adopted by six student jazz musicians during rehearsal and performance. Six one-hour rehearsal sessions and a performance were observed and videotaped for analysis. Results revealed six modes of communication that formed two main categories, verbal and non-verbal, each containing three distinct modes of communication: instruction, cooperation and collaboration. Non-verbal collaborative mode displayed empathetic attunement, which is a vehicle for empathetic creativity. Empathetic creativity is a theoretical concept proposed by the author based on the concept of empathetic intelligence (Arnold, 2003, 2004). Practical applications of empathetic creativity are discussed with reference to music education, focusing on evaluation of individual contribution to group creative performances

Listening and remembering: networked off-line improvisation for four commuters

This paper analyses the experience of the networked off-line improvisation 'Listening and Remembering', a performance for four commuters using voices and sounds from the Mexico City and Paris metros. It addresses the question: how can an act of collective remembering, inspired by listening to metro soundscapes, lead to the creation of networked voice- and sound-based narratives about the urban commuting experience? The networked experience is seen here from the structural perspective (telematic setting), the sonic underground context, the ethnographic process that led to the performance, the narratives that are created in the electro-acoustic setting, the shared acoustic environments that those creations suggest, and the technical features and participants' responses that prevent or facilitate interaction. Emphasis is placed on the participants' status as non-performers, and on their familiarity with the sonic environment, as a context that allows the participation of non-musicians in the making of music through telematically shared interfaces, using soundscape and real-time voice. Participants re-enact their routine experience through a dialogical relation- ship with the sounds, the other participants, themselves, and the experience of sharing: a collective memory

The Philosopher and The Dancer

The Philosopher and The Dancer is an act of spontaneous, solo, movement improvisation; offered here as one particularized instantiation and re-enactment of the corporeal situatedness and interrelatedness of self and world that characterizes Merleau-Ponty’s philosophy. The improvisation can take place in any indoor studio/space, ideally with a suitable floor - the ostensibly static nature of an indoor space/place serving as a clear context for the embodiment and modeling of some of Merleau-Ponty’s core philosophical constructs. As an improvised event, The Philosopher and The Dancer can last for a few minutes (6 or 10) or for longer (15 or 20) and is unaccompanied by music; it is the embodied weave of dancer and immediate environment - a cultivated sensitivity and practised responsiveness to one’s spatial and temporal inherence in a particular world - that is foregrounded. This demonstration/performance is offered as a place in which an alternative articulation of Merleau-Ponty’s thought will be evident

Learning from Semantic Inconsistencies as the Origin of Dynamic Capabilities in MNCs: Evidence from Pharmaceutical MNCs

This paper focuses on origins of dynamic capabilities in multinational corporations (MNCs). Building on literature in the area of organizational memory and organizational learning, we investigate factors that contribute to subsidiaries of MNCs ability to detach themselves from obsolete knowledge and practices. To construct the theoretical framework, 11 extensive interviews with marketing and sales executives from three pharmaceutical MNCs operated in Iran were conducted. We test our hypotheses using statistical quantitative analysis of data related to 459 observations from subsidiaries of 51 pharmaceutical MNCs during years 2005-2009. We examine the quality of corrective actions taken by subsidiaries of pharmaceutical MNCs subsequent to subsidiaries failing to meet expected performance objectives. Our findings confirm a moderating role for internationalization, span, and the composition of human resources on the quality of corrective actions pursued