972 research outputs found
Mining oral history collections using music information retrieval methods
Recent work at the Sussex Humanities Lab, a digital humanities research program at the University of Sussex, has sought to address an identified gap in the provision and use of audio feature analysis for spoken word collections. Traditionally, oral history methodologies and practices have placed emphasis on working with transcribed textual surrogates, rather than the digital audio files created during the interview process. This provides a pragmatic access to the basic semantic content, but obviates access to other potentially meaningful aural information; our work addresses the potential for methods to explore this extra-semantic information, by working with the audio directly. Audio analysis tools, such as those developed within the established field of Music Information Retrieval (MIR), provide this opportunity. This paper describes the application of audio analysis techniques and methods to spoken word collections. We demonstrate an approach using freely available audio and data analysis tools, which have been explored and evaluated in two workshops. We hope to inspire new forms of content analysis which complement semantic analysis with investigation into the more nuanced properties carried in audio signals
African American Gospel Piano Style In The 21St Century: A Collective Case Study
The purpose of this study was to examine the African American gospel piano style in the 21st century, further examining the role of musical enculturation, transmission, and preservation through the lived experiences and perspectives as reported by five gospel pianists throughout the United States. A collective case study design (Stake, 1995) was used to explore how the gospel piano style is being learned, developed, transformed, transmitted, and preserved. Research questions focused on participantsâ beliefs about the stylistic transformation of gospel piano in the 21st century and factors that influences those beliefs such as past and present stylistic developments. The data generation method included semi-structured interviews, artifacts, biographies, and recordings. Findings revealed that gospel piano is: (1) primarily learned informally through aural acquisition and listening to other gospel pianists and genres; (2) developed through experiential learning through church performance with assistance from mentors and supportive networks; (3) experienced transformation in the 21st century through evolution, commercialism, infusion of new genres, virtuosic musicianship; and (4) is being transmitted and preserved through teaching, technology, notation, and scholarship. These findings provide valuable insights into the African American gospel piano style for novice and practicing gospel pianists as they continue to develop and become efficient in the genre and for music educators interested in understanding this genre and style of performance practices
Teen playlist: music discovery, production, and sharing among a group of high school students
The purpose of this investigation was to determine if a select group of adolescents exhibited behaviors and practices regarding digital music discovery, production, and sharing that influenced their classroom music instruction. The qualitative study focused on ways in which a group of adolescents informally engaged with digital music in relationship to learning music in their classroom. A constructivistâinterpretivist viewpoint framed the theoretical perspective that a personâs knowledge constructions take place within the context of social interaction. In the early 21st century, young people interacting via digital social networking can experience and share music in ways previous generations could not imagine. Peer learning and exchange occur when adolescents share musical ideas and digital artifacts. In addition, autonomous learning takes place while interacting with a digital device. I used Mayerâs (2002) cognitive theory of multimedia learning to support an understanding of the learning effects associated with content-rich digital experiences. Linking social-constructivist and multimedia educational theories provided the conceptual framework needed to extrapolate meaning from adolescentsâ preferences, influences, and feelings regarding digital musicking.
In an instrumental case study, I followed four high school participants and their music teacher over the course of 6 months. The data consisted of participantsâ detailed reflections and perspectives regarding digital music media discovery, production, and sharing. Detailed accounts collected from interviews and observations illustrated the behaviors of the participants, building a thick description. Although the research focused on adolescents, viewpoints of others emerged throughout the study, including those of peers, colleagues, and family members. Consequently, the investigation also considered what music teachers understood about their studentsâ out of school digital music discovery, production, and sharing.
Findings show the convergence and divergence of digital music engagement in a high school music setting. Themes of experiencing music for personal identity, creativity, and popular culture intermix in classroom and informal learning environments. I present outcomes indicating direct implications for music curriculum development and suggest paths to connect in school and out of school music learning via digital music experiences. This study might help contemporary music teachers take advantage of studentsâ out of school digital music media practices to strengthen in school music programs
The Constructivistly-Organised Dimensional-Appraisal (CODA) Model and Evidence for the Role of Goal-directed Processes in Emotional Episodes Induced by Music
The study of affective responses to music is a flourishing field. Advancements in the study of this phenomena have been complemented by the introduction of several music-specific models of emotion, with two of the most well-cited ones being the BRECVEMA and the Multifactorial Process Model. These two models have undoubtedly contributed to the field. However, contemporary developments in the wider affective sciences (broadly described as the ârise of affectivismâ) have yet to be incorporated into the music emotion literature. These developments in the affective sciences may aid in addressing remaining gaps in the music literature, in particular for acknowledging individual and contextual differences.
The first aim of this thesis was to outline contemporary theories from the wider affective sciences and subsequently critique current popular models of musical emotions through the lens of these advancements. The second aim was to propose a new model based on this critique: the Constructivistly-Organised Dimensional-Appraisal (CODA) model. This CODA model draws together multiple competing models into a single framework centralised around goal-directed appraisal mechanisms which are key to the wider affective sciences but are a less commonly acknowledged component of musical affect. The third aim was to empirically test some of the core hypotheses of the CODA model. In particular, examining goal-directed mechanisms, their validity in a musical context, and their ability to address individual and contextual differences in musically induced affect. Across four experiments which include exploratory and lab-based designs through to real- world applications, the results are supportive of the role of goal-directed mechanisms in musically induced emotional episodes. Experiment one presents a first test battery of multiple appraisal dimensions developed for music. The results show that several of the hypothesised appraisal dimensions are valid dimensions is a musical context. Moreover, these mechanisms cluster into goal-directed latent variables. Experiment two develops a new set of stimuli annotations relating to musical goals, showing that music can be more or less appropriate for different musical goals (functions). Experiment three, using the new stimuli set from experiment two, tests the effects of different goals with more or less appropriate music on musically induced affect. These results show that goal-directed mechanisms can change induced core-affect (valence and arousal) and intensity, even for the same piece of music. Experiment four extends the study of goal-directed mechanisms into a real-world context through an interdisciplinary and cross-cultural design. The final experiment demonstrates how goal-directed mechanisms can be manipulated through different algorithms to induce negative affect in a Colombian population.
The main conclusions of this thesis are that the CODA model, more specifically goal-directed mechanisms, provide a valuable, non-reductive, and more eïŹicient approach to addressing individual and contextual differences for musically induced emotional episodes in the new era of affectivism
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 âTangible Interfacesâ 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
Music listening in everyday life: Devices, selection methods, and digital technology
Two studies considered whether psychological variables could predict everyday music listening practices more than those demographic and technology-related variables studied predominantly hitherto. Study 1 focused on music-listening devices, while Study 2 focused on music selection strategies (e.g. playlists). Study 1 indicated the existence of a one-dimensional identity based on music technology. Further, psychological variables (such as innovativeness and self-efficacy) predicted whether individuals possess such an identity. Moreover, while psychological variables predicted whether individuals preferred âfamiliarizedâ advantages inherent to listening devices, a preference for âprogressiveâ advantages was predicted by technological behaviors. Study 2 supported the first study in terms of identity, and demonstrated that a different pattern of variables predicted playlist listening from listening to music via shuffle. More generally, the findings suggest the utility of applying constructs from consumer psychology to everyday music-listening behaviors
Using Music Technology Creatively to Enrich Later-Life: A Literature Review
Background: A growing body of evidence has demonstrated significant social and emotional benefits of music-making amongst senior citizens. However, several as-yet unresolved age-related barriers to âmusickingâ have been identified. Positioned within the emergent field of gerontechnology, concerned with the interface between aging and technology research, this review of literature thus explores the potential for music technologies to function as a vehicle for creative musical opportunities in later-life.Methods: ERIC, PsychInfo, and Web of Science databases were searched, focusing on the intersection between music, technology, and aging. The criteria for inclusion were that the paper should: (1) be in English; (2) report empirical research involving the use of music technologies intended to support receptive (listening, interpreting, reflecting) or active (playing, creating, performing) engagement with music amongst older persons, defined as being aged 60 years or above (United Nations, 2017); (3) be published as a peer reviewed journal article.Results: Of 144 papers screened, 18 papers were retained. 10 studies focused on using technology to support musicking in the form of listening, reflecting, and interpreting. Just five studies explored the utility of technology in promoting singing or playing instruments, while a further three were focused on music and movement.Conclusions: Overall, the literature reviewed suggests that older people, even those with complex needs, are capable of, and interested in using music technologies to access and create personally meaningful music. The limited research that does exist points to multiple and significant benefits that may be derived from receptive or active musicking supported by a range of music technologies
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