Bridging the divide : embedding voice-leading analysis in string pedagogy and performance.

Experience as a music lecturer in higher/further education and as an instrumental teacher suggests that instrumental pedagogy – focused on strings – and music analysis could usefully be brought closer together to enhance performance. The benefits of linkage include stimulating intellectual enquiry and creative interpretation, as well as honing improvisatory skills; voice-leading analysis, particularly, may even aid technical issues of pitching, fingering, shifting and bowing. This article details an experimental curriculum, entitled ‘Voice-leading for Strings’, which combines voice-leading principles with approaches to string teaching developed from Nelson, Rolland and Suzuki, supplemented by Kodály's hand-signs. Findings from informal trials at Lancaster University (1995–7), which also adapted material for other melody instruments and keyboard, strongly support this perceived symbiotic relationship

Embodiment, sound and visualization : a multimodal perspective in music education

Recently, many studies have emphasized the role of body movements in processing, sharing and giving meaning to music. At the same time, neuroscience studies, suggest that different parts of the brain are integrated and activated by the same stimuli: sounds, for example, can be perceived by touch and can evoke imagery, energy, fluency and periodicity. This interaction of auditory, visual and motor senses can be found in the verbal descriptions of music and among children during their spontaneous games. The question to be asked is, if a more multisensory and embodied approach could redefine some of our assumptions regarding musical education. Recent research on embodiment and multimodal perception in instrumental teaching could suggest new directions in musical education. Can we consider the integration between the activities of body movement, listening, metaphor visualization, and singing, as more effective than a disembodied and fragmented approach for the process of musical understanding

Haptics for the development of fundamental rhythm skills, including multi-limb coordination

This chapter considers the use of haptics for learning fundamental rhythm skills, including skills that depend on multi-limb coordination. Different sensory modalities have different strengths and weaknesses for the development of skills related to rhythm. For example, vision has low temporal resolution and performs poorly for tracking rhythms in real-time, whereas hearing is highly accurate. However, in the case of multi-limbed rhythms, neither hearing nor sight are particularly well suited to communicating exactly which limb does what and when, or how the limbs coordinate. By contrast, haptics can work especially well in this area, by applying haptic signals independently to each limb. We review relevant theories, including embodied interaction and biological entrainment. We present a range of applications of the Haptic Bracelets, which are computer-controlled wireless vibrotactile devices, one attached to each wrist and ankle. Haptic pulses are used to guide users in playing rhythmic patterns that require multi-limb coordination. One immediate aim of the system is to support the development of practical rhythm skills and multi-limb coordination. A longer-term goal is to aid the development of a wider range of fundamental rhythm skills including recognising, identifying, memorising, retaining, analysing, reproducing, coordinating, modifying and creating rhythms – particularly multi-stream (i.e. polyphonic) rhythmic sequences. Empirical results are presented. We reflect on related work, and discuss design issues for using haptics to support rhythm skills. Skills of this kind are essential not just to drummers and percussionists but also to keyboards players, and more generally to all musicians who need a firm grasp of rhythm

Harmony and Technology Enhanced Learning

New technologies offer rich opportunities to support education in harmony. In this chapter we consider theoretical perspectives and underlying principles behind technologies for learning and teaching harmony. Such perspectives help in matching existing and future technologies to educational purposes, and to inspire the creative re-appropriation of technologies

'Sounds of Intent' : Mapping musical behaviour and development in children and young people with complex needs

This article reports on the first year of an Esmae Fairbairn Foundation-funded research project into the design and evaluation of an original 'framework' for mapping the behaviour and development in, and through, music for children with complex needs, specifically those with profound and multiple learning difficulties (PMLD). An initial four-month design and pilot phase critiqued and evaluated a framework that was grounded in video-based iterative analyses of individual case studies that had been collected during the previous two years. The piloting phase was followed by a sustained period of classroom-based music lesson observation in five special schools over a period of seven months. A total of 630 observations were made using the framework for 68 participants whose ages ranged from 4 years 7 months to 19 years 1 month. Subsequent analyses support the general design features of the observational framework and provide new evidence of PMLD musical behaviour and development

Visualising Music with Impromptu

This paper discusses our experiments with a method of creating visual representations of music using a graphical library for Impromptu that emulates and builds on Logo’s turtle graphics. We explore the potential and limitations of this library for visualising music, and describe some ways in which this simple system can be utilised to assist the musician by revealing musical structure are demonstrated

Confessions of a live coder

This paper describes the process involved when a live coder decides to learn a new musical programming language of another paradigm. The paper introduces the problems of running comparative experiments, or user studies, within the field of live coding. It suggests that an autoethnographic account of the process can be helpful for understanding the technological conditioning of contemporary musical tools. The author is conducting a larger research project on this theme: the part presented in this paper describes the adoption of a new musical programming environment, Impromptu, and how this affects the author’s musical practice

MI as a predictor of students’ performance in reading competency

The purpose of this study was to examine whether performance in MI could predict the performance in reading competency. The other objectives were to identify the components of MI which are correlated with the reading test scores, and to determine the relationship between the multiple intelligences and reading proficiency. A descriptive and ex post facto design was employed to ascertain relationships among the variables. The participants were 128 randomly chosen pre-university students (grade12, 18-19 years old) of both genders studying in Tehran in the academic year 2008-2009. Three instruments were utilized in this study: 1) a demographic questionnaire; 2) the Persian version of Mckenzie’s MI Inventory; and 3) a standardized reading proficiency test which was selected from retrieved paper-based TOEFL® tests. Results of the correlation analysis revealed no significant relationship between the two variables of MI and reading scores of the students. Furthermore, the results of the correlation analysis revealed that there was a low significant, negative relationship between musical-rhythmic intelligence and reading which suggests that when the reading score of a student increases, musical-rhythmic intelligence of the same student decreases and vice versa. Overall, three categories of MI (musical-rhythmic, verbal-linguistic, bodily-kinesthetic) were found to be predictive of reading proficiency

Learning design – making practice explicit

New technologies have immense potential for learning, but the sheer variety possible also creates challenges for learners in terms of navigating through an increasingly complex digital landscape and for teachers in terms of how to design and support learning interventions. How can learners and teachers make informed decisions about what technologies to use in the design and support of learning activities? This presentation will consider this question and present a new methodology for design – 'learning design', which aims to shift the creation and support of learning from what has traditionally been an implicit, belief-based practice to one that is explicit and design based. Learning design research at the Open University, UK has included the development of a set of conceptual design views, a tool for visualising designs (CompendiumLD) and a social networking site, for sharing and discussing learning and teaching ideas and designs (Cloudworks). An overview of this work will be provided, along with a discussion of the perceived benefits of this new approach to educational design