Software agents in music and sound art research/creative work: Current state and a possible direction

Composers, musicians and computer scientists have begun to use software-based agents to create music and sound art in both linear and non-linear (non-predetermined form and/or content) idioms, with some robust approaches now drawing on various disciplines. This paper surveys recent work: agent technology is first introduced, a theoretical framework for its use in creating music/sound art works put forward, and an overview of common approaches then given. Identifying areas of neglect in recent research, a possible direction for further work is then briefly explored. Finally, a vision for a new hybrid model that integrates non-linear, generative, conversational and affective perspectives on interactivity is proposed

The intensity factor in the traditional idiom of music making in Dagbon

In this article we present the results on rhythmic analysis we conducted on Tindana ritual music-dance in Dagbon, a music-dance culture located in the Northern Region of Ghana. The paper elaborates on the “Intensity Factor” in the traditional idiom of music making and explains how this expressive key component contributes to the dynamics of the ritual. The depth of our analysis shows that the intensity factor has a direct impact on the interaction between the produced sound of the lunsi-ensemble, (the tom-tom beaters), the bodily movements of the dancers and the input and expectations of the local community. Our results shows that the Tindana ritual Tolon Jaagbo consist of intra-musical structural components and extra-musical cultural components and has homeostasis states, and transitional states inside the architectural structure of the music-dance. Our focus is on how expressive components have a direct impact on the dynamics of music making in Dagbon society. Several important concepts that characterize aspects of timing, such as "movable one" and "intensity factor", have been introduced by different authors. However, the focus was often on single aspects of timing and an overall framework was lacking. Here we attempt at integrating different concepts of expressive timing in an overall framework of embodied music interaction. An overall framework based on embodied music interaction has not yet been applied to expressive timing in African music. Instead, what we have are different concepts that define aspects of expressive timing

Data Driven Analysis of Tiny Touchscreen Performance with MicroJam

The widespread adoption of mobile devices, such as smartphones and tablets, has made touchscreens a common interface for musical performance. New mobile musical instruments have been designed that embrace collaborative creation and that explore the affordances of mobile devices, as well as their constraints. While these have been investigated from design and user experience perspectives, there is little examination of the performers' musical outputs. In this work, we introduce a constrained touchscreen performance app, MicroJam, designed to enable collaboration between performers, and engage in a novel data-driven analysis of more than 1600 performances using the app. MicroJam constrains performances to five seconds, and emphasises frequent and casual music making through a social media-inspired interface. Performers collaborate by replying to performances, adding new musical layers that are played back at the same time. Our analysis shows that users tend to focus on the centre and diagonals of the touchscreen area, and tend to swirl or swipe rather than tap. We also observe that while long swipes dominate the visual appearance of performances, the majority of interactions are short with limited expressive possibilities. Our findings are summarised into a set of design recommendations for MicroJam and other touchscreen apps for social musical interaction

Annotated bibliography of community music research review, AHRC connected communities programme

This research review, consisting of a 90-entry annotated bibliography, was produced as part of an AHRC Connected Communities programme project entitled Community Music, its History and Current Practice, its Constructions of ‘Community’, Digital Turns and Future Soundings. It supports a 2,500 word report written with this same title for the AHRC

Finding A Voice – Exploration of Modes and Timbres : A portfolio of ten original compositions with accompanying commentaries

This thesis marks the culmination of four years’ work, as part of my PhD study in composition. The portfolio consists of ten pieces, lasting in total approximately 2 hours and 10 minutes, and a commentary comprising an analysis of each of the works. The main emphasis has been on the development of an individual style, informed by the exploration of twentieth and twenty-first century compositional techniques, instrumental timbres, stylistic genres, forms, scale derivations and the wider aesthetic of contemporary music. The portfolio includes works for solo instruments, ensemble and orchestra. One of the main areas of research has been to devise combinatorial scales, based on modality, whole-tone scales and pentatony, based on my knowledge and experience of a range of musical traditions and genres, both western and eastern, thereby deriving new melodic and harmonic resources. Each piece in the portfolio was written with one or more different concepts in mind and consists of either single- or multi-movement formats

Report on Henri Pousseur

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New Approaches in "Theory of Music" Courses: Preliminary Findings of a Pilot Study in Conservatory Settings

In our increasingly multimodal era, it is widely recognized that music educators ought to consider anew which ways are more effective for students to be engaged with music, what it means to teach music in a multimodal context, and what changes in pedagogy, curriculum, and methodologies are needed. Whereas traditional notions of music theory focus primarily on reading and writing music through standard notation and musical symbols, multimodal multi-sensory activities allow new types of music understanding and learning, leading to the formation of new types of music literacies. However, "Theory of Music" courses in Greece, as a part of the overall music conservatory curriculum being in-use for more than 60 years, are not consistent with the current philosophical trends in the field of music education. In this article, we argue that music teachers in "Theory of Music" classrooms can incorporate multimodal multisensory activities – aural, visual, tactile, and kinesthetic – in order to reinforce the perception of abstract musical concepts. Furthermore, preliminary findings of a pilot study in conservatory settings will be presented, as well as musical-educational activities development based on the multimodal and multi-sensory music teaching-learning approach

Wearable performance

This is the post-print version of the article. The official published version can be accessed from the link below - Copyright @ 2009 Taylor & FrancisWearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment. Wearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment

Band Gamification Among High School Students with Autism Spectrum Disorder: A Qualitative Case Study

This qualitative case study aims to describe, explore, and identify how the high school beginning band student’s choice of computer applications was implemented to demonstrate increased music literacy for percussion students with autism spectrum disorder (ASD). This qualitative research examines two male and four female high school beginning band percussionists with ASD. Data was collected over four weeks via computer applications, observations, and recorded exit interviews of each student. Students’ respective schools were selected to conduct research; data was analyzed by studying the computer application scores and educational implications. Perspectives on improving communication, cognitive, and music reading skills are also examined. Employing student choice may encourage ASD students to self-advocate in other areas. This work is important because few studies have been conducted on adolescents with ASD in music education: there are still very few randomized control studies on the effectiveness of computer applications, even though the literature on this topic appears to have demonstrated advantages for people with ASD. This study could encourage the research of a more extensive survey of the population with ASD and students with other disabilities to use technology, gaining a deeper understanding of needs and challenges and encouraging growth in communication and cognitive skills in different subject areas