Ambient Gestures

We present Ambient Gestures, a novel gesture-based system designed to support ubiquitous ‘in the environment’ interactions with everyday computing technology. Hand gestures and audio feedback allow users to control computer applications without reliance on a graphical user interface, and without having to switch from the context of a non-computer task to the context of the computer. The Ambient Gestures system is composed of a vision recognition software application, a set of gestures to be processed by a scripting application and a navigation and selection application that is controlled by the gestures. This system allows us to explore gestures as the primary means of interaction within a multimodal, multimedia environment. In this paper we describe the Ambient Gestures system, define the gestures and the interactions that can be achieved in this environment and present a formative study of the system. We conclude with a discussion of our findings and future applications of Ambient Gestures in ubiquitous computing

Gesture in Karnatak Music: Pedagogy and Musical Structure in South India

This thesis presents an examination of gesture in Karnatak music, the art music of South India. The topic is approached from two perspectives; the first considers Karnatak music structure from a gestural perspective, looking both at the music itself and at the gestures that create it, while the second enquires into the role played by physical gesture in vocal pedagogy. The broader aims of the thesis are to provide insight into the musical structure of the Karnatak style, and to contribute to wider discourses on connections between music and movement. An interdisciplinary approach to the research is taken, drawing on theories and methods from the fields of ethnomusicology, embodied music cognition, and gesture studies. The first part of the thesis opens with a discussion of differences between practical and theoretical conceptions of the Karnatak style. I argue for the significance in practice of svara-gamaka units and longer motifs formed of chains of such units, and also consider the gestural qualities of certain motifs and their contribution to bhāva (mood). Subsequently, I present a joint musical and motoric analysis of a section of Karnatak violin performance, seeking to elucidate the dynamic processes that form the style. The second part of the thesis enquires into the role played by hand gestures produced by teachers and students in vocal lessons, looking at what is indexed by the gestures and how such indexing contributes to the pedagogic process. This part of the thesis also considers how gestures contribute to the formation and maintenance of common ground between teacher and student. The final chapter brings the two strands of this thesis together to discuss the connections that exist between musical and physical gesture in Karnatak music

Hands-On Research Symposium: from artistic practice to artistic research: book of abstracts

Hands-On Research Symposium aims to stimulate the discussion of ideas, practices, insights, outputs and developments in the field of artistic research. Originally conceptualised as a series of meetings focused on specific instrumental areas bridging the gap between artistic production and academic research, thus creating opportunities to combine artists’ and researchers’ knowledge, Hands-On Research has now expanded to encompass all artistic areas and will feature paper presentations, lecture-performances, round-table discussions and concerts.publishe

AN EXAMINATION OF A CONDUCTOR’S PERFORMANCE PREPARATION OF THE MENDELSSOHN VIOLIN CONCERTO IN E MINOR

The music of Felix Mendelssohn-Bartholdy (1809-47) has earned a prominent position in the orchestral repertoire. One of his greatest works, and certainly one of the most performed, is his Violin Concerto in E minor, Op. 64. The work enjoys much popularity with, and recognition by, soloists, orchestras, and conductors alike. Even with its fame and familiarity, it remains a work that must be carefully studied and prepared by the conductor. This document presents an examination of a conductor’s performance preparation of the Mendelssohn Violin Concerto. The purpose of this examination is to equip the conductor with a depth of knowledge that will yield rehearsals and performances of the concerto that are stylistically appropriate, well informed, and efficient. Major sections include an examination of the concerto’s 1844 and 1845 versions and available performance materials, tempo selection and execution, size, balance and composition of the orchestra, stylistic traits, and aspects of performance practice

Music conducting pedagogy and technology : a document analysis on best practices

This document analysis was designed to investigate pedagogical practices of music conducting teachers in conjunction with research of technologists on the use of various technologies as teaching tools. I sought to discern how conducting teachers and pedagogues are applying recent technological advancements into their teaching strategies. I also sought to understand what paths research is taking about the use of software, hardware, and computer systems applied to the teaching of music conducting technique. This dissertation was guided by four main research questions: (1) How has technology been used to aid in the teaching of conducting? (2) What is the role of technology in the context of conducting pedagogy? (3) Given that conducting is a performative act, how can it be developed through technological means? (4) What technological possibilities exist in the teaching of music conducting technique? Data were collected through music conducting syllabi, conducting textbooks, and research articles. Documents were selected through purposive sampling procedures. Analysis of documents through the constant comparative approach identified emerging themes and differences across the three types of documents. Based on a synthesis of information, I discussed implications for conducting pedagogy and made suggestions for conducting educators.Includes bibliographical references

Conducted Improvisation

The purpose of this thesis Conducted Improvisation is to study how a musical sign language can effect creativity, musical interaction and sense of freedom in ensemble playing by analyzing Extemporize, a sign system I have developed, with the further goal to explore the pedagogical potential in this practice. The research questions that drive this study are: In what ways does the sign system effect creativity and playfulness in improvised performance? In what ways does the sign system affect the sense of freedom in ensemble performance? In what ways does the sign system effect musical interaction? The material for the survey has been acquired through video documentation of rehearsals and concerts and interviews with the participants. 15 musicians took part in this study whereof 10 of them were interviewed. The results of the study indicate that sign language is effective in working with improvisation in ensemble and can have an impact on both freedom and constraint, it has the possibility to strengthen the voice of the musicians and push them in other musical directions than normally. But conducted improvisation can also create frustrations in the musicians, especially if the sign system is not rehearsed enough.Formålet med denne afhandling Conducted Improvisation er at undersøge, hvordan et musikalsk tegnsprog kan påvirke kreativitet, musikalsk interaktion og følelse af frihed i sammenspilssituationer ved at analysere Extemporize, et tegnsprog jeg har udarbejdet, med yderligere det formål at udforske det pædagogiske potentiale i denne praksis. Forskningsspørgsmålene, der driver denne undersøgelse er: På hvilke måder påvirker tegnsproget kreativitet og leg i improvisation? På hvilke måder påvirker tegnsproget følelsen af frihed i sammenspilssituationer? Hvilken effekt har tegnsproget på musikalsk interaktion? Materialet til undersøgelsen er erhvervet gennem video dokumentation af øvere og koncerter og interviews med deltagerne. 15 musikere deltog i denne undersøgelse, hvoraf 10 af dem blev interviewet. Resultaterne af undersøgelsen viser, at tegnsproget er effektiv i arbejdet med improvisation i ensemble og kan have en indvirkning på både frihed og tvang, det har mulighed for at styrke musikernes stemmer og skubbe dem i andre musikalske retninger end normalt. Men dirigeret improvisation kan også skabe frustrationer i musikerne, især hvis tegnsproget ikke er øvet nok

WOMEN CONDUCTORS: A QUALITATIVE STUDY OF GENDER, FAMILY, ‘THE BODY’ AND DISCRIMINATION

The purpose of this study is to develop a broader appreciation of women’s experiences of conducting, focusing on issues concerning embodiment, body language, clothing and so forth in order to place emphasis on their life experiences. The research is based upon thematic analysis (TA) of qualitative interviews conducted with women conductors living in the UK (N=8) alongside detailed Media Content Analysis (MCA) of data derived from online magazines, online newspapers, online blogs and Internet articles. The results reveal prevalent gender discrimination, bias, sexism and misogyny against women in the conducting profession. Specifically, six broad themes emerged through the data analysis. These are: 1) gender discrimination (TA and MCA suggest that gender bias, discrimination, sexist and misogynist comments and attitudes still occur within the conducting profession); 2) factors that influence women conductors’ career development (TA suggests that families as well as a musical background of women conductors have motivated them to pursue and develop a musical career); 3) achieving balance (TA and MCA support that a balance between professional and personal life can be difficult to achieve); 4) clothing (TA and MCA suggest that clothing choices are very important for women conductors, affecting them personally in terms of how they are perceived by other musicians and/or audiences); 5) the conducting body (TA and MCA conclude that gender is not a factor affecting women’s bodily communication; however, their gestures may be perceived differently by people); and 6) conducting and leadership (TA and MCA suggest that the concept of the male ‘tradition’ is the main factor that has prevented women conductors from being seen as great leaders, therefore, women lack the experience and practice to develop their leadership abilities). Taken together, these factors highlight the continuing struggle that women experience in conducting today and provide an insight of how they cope with their profession