Beyond pitch/duration scoring: Towards a system dynamics model of electroacoustic music

Based on a hierarchy of discrete pitches and metrically sub-divisible duration, Western tonal art music is usually modelled through printed music scores. Scoring acoustic musical events beyond this paradigm has resulted in non-standard graphs in two dimensions. New digitally generated ‘soundscape’ forms are often not conceived or understandable within traditional musical paradigms or notation models, and often explore attributes of music such as spatial processing that fall outside two- dimensional graphic scoring. To date there is not a commonly accepted model that approximates the structural dynamics of electroacoustic music; providing a conceptual framework independent of the music to the degree of standard music notation. Based on recent work in spectro-morphology as a way of explaining sound shapes, a systems dynamics model is proposed through mapping a dynamic taxonomy for structural listening as an aid to composition. This approach captures formal but not semiotic discourse

Studying Games in School: a Framework for Media Education

This paper explores how media education principles can be extended to digital games, and whether the notion of ‘game literacy’ is an appropriate metaphor for thinking about the study of digital games in schools. Rationales for studying the media are presented, focusing on the importance of setting up social situations that encourage more systematic and critical understanding of games. The value of practical production, or game making, is emphasized, as a way of developing both conceptual understanding and creative abilities. Definitions of games are reviewed to explore whether the study of games is best described as a form of literacy. I conclude that games raise difficulties for existing literacy frameworks, but that it remains important to study the multiple aspects of games in an integrated way. A model for conceptualizing the study of games is presented which focuses on the relationship between design, play and culture

Applications of system dynamics modelling to computer music

Based on a composer's psycho-acoustic imagination or response to music, system dynamics modelling and simulation tools can be used as a scoring device to map the structural dynamic shape of interest of computer music compositions. The tools can also be used as a generator of compositional ideas reflecting thematic juxtaposition and emotional flux in musical narratives. These techniques allow the modelling of everyday narratives to provide a structural/metaphorical means of music composition based on archetypes that are shared with wider audiences. The methods are outlined using two examples

Object, space and the museum : a semiotic approach

This paper discusses the object in a museum context and the different ways in which space is used within the museum paradigm. The aim of the paper is to enable a wide vision of the different ways in which a museum signifies.peer-reviewe

The story of Oh: the aesthetics and rhetoric of a common vowel sound

Studies in Musical Theatre is the only peer-reviewed journal dedicated to musical theatre. It was launched in 2007 and is now in its seventh volume. It has an extensive international readership and is edited by Dominic Symonds and George Burrows. This article investigates the use of the ‘word’ ‘Oh’ in a variety of different performance idioms. Despite its lack of ‘meaning’, the sound is used in both conversation and poetic discourse, and I discuss how it operates communicatively and expressively through contextual resonances, aesthetic manipulation and rhetorical signification. The article first considers the aesthetically modernist work of Cathy Berberian in Bussotti’s La Passion Selon Sade; then it considers the rhetorically inflected use of ‘Oh’ to construct social resonance in popular song;finally, it discusses two important uses of the sound ‘Oh’ which bookend the Broadway musical Oklahoma!, serving to consolidate the allegorical and musico-dramatic narrative of the show

The story of Oh: the aesthetics and rhetoric of a common vowel sound

Studies in Musical Theatre is the only peer-reviewed journal dedicated to musical theatre. It was launched in 2007 and is now in its seventh volume. It has an extensive international readership and is edited by Dominic Symonds and George Burrows. This article investigates the use of the ‘word’ ‘Oh’ in a variety of different performance idioms. Despite its lack of ‘meaning’, the sound is used in both conversation and poetic discourse, and I discuss how it operates communicatively and expressively through contextual resonances, aesthetic manipulation and rhetorical signification. The article first considers the aesthetically modernist work of Cathy Berberian in Bussotti’s La Passion Selon Sade; then it considers the rhetorically inflected use of ‘Oh’ to construct social resonance in popular song;finally, it discusses two important uses of the sound ‘Oh’ which bookend the Broadway musical Oklahoma!, serving to consolidate the allegorical and musico-dramatic narrative of the show

CSR communication research: A theoretical-cum-methodological perspective from semiotics

Despite the proliferation of studies on corporate social responsibility (CSR), there is a lack of consensus and a cardinal methodological base for research on the quality of CSR communication. Over the decades, studies in this space have remained conflicting, unintegrated and sometimes overlapping. Drawing on semiotics – a linguistic-based theoretical and analytical tool, our article explores an alternative perspective to evaluating the quality and reliability of sustainability reports. Our article advances CSR communication research by introducing a theoretical-cum-methodological perspective which provides unique insights into how to evaluate the quality of CSR communication. Particularly, we illustrate the application of our proposed methodology on selected UK FTSE100 companies. Our two-phased analysis employed the Greimas Canonical Narrative Schema and the Semiotic Square of Veridiction in drawing meanings from selected sustainability/CSR reports. In addition, we present a distinctive CSR Report Quality Model capable of guiding policy makers and firms in designing sustainability/CSR reporting standards.N/

Artificial and Natural Genetic Information Processing

Conventional methods of genetic engineering and more recent genome editing techniques focus on identifying genetic target sequences for manipulation. This is a result of historical concept of the gene which was also the main assumption of the ENCODE project designed to identify all functional elements in the human genome sequence. However, the theoretical core concept changed dramatically. The old concept of genetic sequences which can be assembled and manipulated like molecular bricks has problems in explaining the natural genome-editing competences of viruses and RNA consortia that are able to insert or delete, combine and recombine genetic sequences more precisely than random-like into cellular host organisms according to adaptational needs or even generate sequences de novo. Increasing knowledge about natural genome editing questions the traditional narrative of mutations (error replications) as essential for generating genetic diversity and genetic content arrangements in biological systems. This may have far-reaching consequences for our understanding of artificial genome editing

Rhetoric, Music and Philosophy in 88 Constellations for Wittgenstein by David Clark: Intermedial and Intertextual Practices

88 Constellations for Wittgenstein (to Be Played with the Left Hand) (2008) by Canadian artist David Clark is a web-based Flash creation that explores the life and works of Austrian-born philosopher Ludwig Wittgenstein. As the title suggests the digital work should be “played with the left hand”, this means that there are additional semiotic units (e.g. videos, sounds, images, linguistic texts) hidden in the metaphysical strings of the constellations that the reader can add to the narrative by means of interaction and manipulation. We argue that by discovering unexplored paths and creative unknowns the reader encounters examples of gestural melodic manipulation that will consequently lead to the creation of visual music. The visual music produced by the secret of the Left Hand, whose notes (piano keys) are the gestural enunciation of different discourses and diverse thematic, expose the potential intermedial literary characteristics of the text. Our analytical approach will demonstrate how rhetoric and digital technologies join to visually express philosophical concepts