The tablet as a classroom musical instrument

Music education is rightly recognised as an important part of children’s social, creative and academic development. Current UK policy holds that all children should have the opportunity to learn a musical instrument and have access to quality music education. In practice, however, many primary schools do not have the resources and guidance to deliver this, and with the pressures of literacy and numeracy attainment, the more advanced aspects of music education, such as notation and theory, often seem unachievable goals. Primary schools increasingly utilise tablet devices, such as iPads, to improve interactivity, engagement and accessibility in other aspects of learning, but this approach is yet to be widely adopted within music classes. As part of a wider research project funded by the Arts and Humanities Research Council, this study examines the effectiveness of such tablet applications in a Year 5 class on performance and composition, and assesses how this approach might function on a wider level. All children have the right to a music education which allows them to develop their expression and understanding. The modes of interaction and representation with which children are accustomed from regular use of tablets may help to ensure that this is present in every music class

MusicianMaker An App for Teaching Musicality to Beginners

The purpose of this paper is to support and defend my senior capstone project, which takes the form of an educational app for iPad called MusicianMaker. The paper is split into two main sections: a rationale for the necessity of the app, and a justification for the educational benefits it provides. Over the course of my undergraduate career I have studied available resources for music education and found a disappointing majority that make no attempt to teach musicality. Teachers and scholars debate that music learning is either absolute or relativistic, but regardless of their opinion I have found no pedagogy that focuses on musicality and self-expression in beginner instrumental music. Instead, technical proficiency is the frequent concern for musicians and their teachers. MusicianMaker was conceived as a fun way to fill the gap in a young musician’s education through the use of technology; the app allows young students who have not attained technical proficiency to work on their musicianship by giving them control over a character’s musical decisions. I chose to use recordings from the public domain that represent 20th-century American cities in order to teach players the history of performance traditions in this nation in addition to the musical skills they display so clearly. I defend my music selections through in-depth research on each composition that explains its historical and musical significance. Finally, I address possible uses for MusicianMaker in a variety of settings in hopes of inspiring other music teachers like myself to use the app or at least to see the importance of teaching musicality to their beginner students

Designing for Musical Play

Though sensory spaces are a common feature within many special needs schools, the way in which they are designed and resourced varies greatly between provisions as do the types of activities that take place within them. A short series of case studies has been carried out across a cross section of UK special needs schools to demonstrate this contrast whilst also attempting to better understand the reasoning and motivation behind their design and usage. In 2012, eight schools were visited in England and Wales with the aim of documenting the types of sensory space that were available, the resources that were featured within each space and the types of sensory activities that were being used. The key themes that emerged during the case studies are discussed alongside an historical overview of the conception and evolution of the multisensory environment

Designing musical games for electroacoustic improvisation

This paper describes the background and motivations behind the author’s electroacoustic game-pieces Pathfinder (2016) and ICARUS (2019), designed specifically for his performance practice with an augmented drum kit. The use of game structures in music is outlined, while musical expression in the context of commercial musical games using conventional game controllers is discussed. Notions such as agility, agency and authorship in music composition and improvisation are in parallel with game design and play, where players are asked to develop skills through affordances within a digital game-space. It is argued that the recent democratisation of game engines opens a wide range of expressive opportunities for real-time game-based improvisation and performance. Some of the design decisions and performance strategies for the two instrument-controlled games are presented to illustrate the discussion; this is done in terms of game design, physical control through the augmented instrument, live electronics and overall artistic goals of the pieces. Finally, future directions for instrument-controlled electroacoustic game-pieces are suggested

Design Strategies for Adaptive Social Composition: Collaborative Sound Environments

In order to develop successful collaborative music systems a variety of subtle interactions need to be identified and integrated. Gesture capture, motion tracking, real-time synthesis, environmental parameters and ubiquitous technologies can each be effectively used for developing innovative approaches to instrument design, sound installations, interactive music and generative systems. Current solutions tend to prioritise one or more of these approaches, refining a particular interface technology, software design or compositional approach developed for a specific composition, performer or installation environment. Within this diverse field a group of novel controllers, described as ‘Tangible Interfaces’ have been developed. These are intended for use by novices and in many cases follow a simple model of interaction controlling synthesis parameters through simple user actions. Other approaches offer sophisticated compositional frameworks, but many of these are idiosyncratic and highly personalised. As such they are difficult to engage with and ineffective for groups of novices. The objective of this research is to develop effective design strategies for implementing collaborative sound environments using key terms and vocabulary drawn from the available literature. This is articulated by combining an empathic design process with controlled sound perception and interaction experiments. The identified design strategies have been applied to the development of a new collaborative digital instrument. A range of technical and compositional approaches was considered to define this process, which can be described as Adaptive Social Composition. Dan Livingston

Percussion and Theatrical Techniques: An Investigation into Percussion Theatre Repertoire and its Presence in Australian Classical Music Culture

Percussion theatre is a relatively new term that can be effectively used to discuss a body of musical repertoire for percussion that employ theatrical techniques. A generic approach of percussion theatre may include the specialised use of lighting, props, costume, space, and in some cases multimedia. At the focal point of this thesis are the techniques of acting, vocalisation and gesture. It discusses how the skill set of the percussionist can be expanded to better suit the broader performance demands required by compositions. Percussionists who perform percussion theatre repertoire would greatly benefit from interdisciplinary study to develop the theatrical skills specific to this genre. Stylistic trends in European, American and Australian compositions of this genre are explored in detail. Furthermore, this thesis includes a discussion of a series of written interviews with key exponents of this body of musical work in Australia. Central to this discussion are both, the technical demands of the performer, and the factors that need to be considered when composers engage with the above theatrical techniques. Finally, significant factors leading to the success of the compositions on the performing circuit are also considered with a view to discover how to promote and further develop this nascent form of performance art

Developing the Whole Child Through Movement in the Music Classroom

The early twentieth century brought forth some very strong figures in the world of arts pedagogy. Among them were Carl Orff and Emile Jacque-Dalcroze. Both were composers as well as music educators. Both believed that in order for a musician to perform expressively rather than mechanically, one had to feel music in the body. Orff and Dalcroze followers today uphold these men’s idea that movement is an essential part of the music class. Seeking to feel more comfortable and knowledgeable about movement in teaching K-6 general music classes, I set out to research through books, films, my own movement experiences and activites through which I guided my students. Through the process, I discovered how important movement is for complete human development. In this paper I present examples of movement activities that can be incorporated in music classes. All examples have been tested in my classroom. Through the engagement of such activities we can find a means to bring craft beyond function and into the realm of art. We can be enriched through movement in our co-ordination, learning, problem solving, sense of community and healthy well being. We can find a means of self expres- sion as well as an empathy toward others, important ingredients for living in a free world

A Redefined Role for Tuba in Jazz

In accordance with the York University MA composition thesis guidelines, I propose to create a body of work consisting of several original jazz compositions. This project will utilize myself as composer with the tuba at the heart of the compositions, often as the featured musical voice. The writing will demonstrate the tuba from not only a bass position, but also as a soloist. The focus of my thesis is to position the tuba as a core element within the jazz model, demonstrated in compositional writing and performance. The compositions will be exhibited through an audio recording, music scores, and via literary and oral dissertation to further acquaint the jury and public with my writing, and in specific what I provide as an individualistic, improvisational tuba player. These compositions are being created to not only demonstrate my strengths and sensibilities as a composer, but will also better illuminate my approach to tuba, demonstrating it as a valid and definitive voice for jazz. My composition portfolio will include pieces for jazz duo, trio, quartet and quintet with varied instrumentation. These compositions reside within the traditional jazz approach and standard 'song' forms, but will employ various compositional techniques accrued either through my studies at York or beyond. There will be improvisation and experimentation, but most compositions will not be overly expansive with improvisation. The goal of these compositions and my thesis is to posit the tuba as a legitimate voice as a bass instrument in jazz. This instrument has been marginalized since its earliest role in the cannon of jazz writing and arranging. The tuba, bass saxophone and similar bass instruments quickly faded into obscurity once acoustic bass became the de facto rhythm section standard on stage and in the studio. I aim to shed light on a forgotten forefather of jazz, and bring it back to the forefront of this musical genre through my own compositions and arrangements

Red Note New Music Festival Program, 2013

The RED NOTE New Music Festival at Illinois State University is a week-long event which features outstanding performances of contemporary concert music. (it will be someone new this coming spring)https://ir.library.illinoisstate.edu/rnf/1004/thumbnail.jp