Conceptual Metaphor, Human-Computer Interaction And Music: Applying Conceptual Metaphor To The Design And Analysis Of Music Interactions

Interaction design for domains that involve complex abstractions can present significant challenges. This problem is particularly acute in domains where users lack effective means to conceptualise and articulate relevant abstractions. In this thesis, we investigate the use of domain-specific conceptual metaphors to address the challenge of presenting complex abstractions, using tonal harmony as an extended case study. This thesis presents a methodology for applying domain-specific conceptual metaphors to interactions designs for music. This domain involves complex abstractions where users with any degree of domain knowledge may have difficulty in articulating concepts. The methodology comprises several parts. Firstly, the thesis explores methods for systematically guiding conversation between musicians to elicit speech that describes music using conceptual metaphors. Recommendations for the most suitable methods are made. Secondly, the thesis presents a methodology for identifying image schemas and conceptual metaphors from transcriptions of conversations between musicians. The methodology covers rules for identifying source image schemas and extrapolating conceptual metaphors. Thirdly, the thesis presents a methodology for evaluating existing music interaction designs using domain-specific conceptual metaphors. We demonstrate that this approach can be used to identify potential areas for improvement as well as tensions in the design between certain tasks or abstractions. Fourthly, the thesis presents a case study for the development of a conceptual metaphor-influenced design process. In the case study, a set of materials are developed to be used by participants in the design process to facilitate the mapping of conceptual metaphors to elements of an interaction design without requiring knowledge of Conceptual Metaphor Theory. Finally, a pilot study is presented integrating the results of the conceptual metaphor-influenced design process into a consistent and useful prototype system. Compromises and refinements to the design proposals made during the design process are discussed and the resulting system design is detailed

Vocal piano accompaniment: A constant research towards emancipation (2)

This is the second and last article in the series dedicated to the investigation of the evolution of vocal piano accompaniment through history and the role-played by the piano in its relationship with the voice. If the previous chapter focused from the beginnings of piano accompaniment to Franz Schubert, this one will take up again the analysis of the piano part from the last lieder of Franz Schubert to Arnold Schoenberg. The research method used continues to be based on the musical analysis of the piano part, addressing both issues of the piano itself and its link with the text and the vocal part. By means of musical examples of different composers, the article investigates all those aspects that provide evidence of the change in the role of the piano in the correspondence of the piano with the voice and its repercussion on the final result of the work. In this way, we will look at the history of piano accompaniment for voice and see how the influence of Schubert's conception of vocal piano accompaniment materializes in contemporary and later composers, as well as the crucial change in the history of the piano as an accompanying instrument introduced by Schubert. The results and conclusions drawn from the evolution presented in these two articles are presented at the end of the article, based on the different aspects involved in the musical event, such as rhythm, harmony or texture

On possibilities for salvaged polyphonic ecologies in a ruined world

Invited commentary on A.L. Tsing's 'The mushroom at the end of the world: on the possibility of life in capitalist ruins' (2015), Princeton University Press, ISBN 9780691162751

Changing Our Tune: A Music-Based Approach to Teaching, Learning, and Resolving Conflict

The need for change within the legal profession and legal education is critical. To remain relevant and responsive to twenty-first century challenges and complexities the next generation of professionals must be creative, imaginative, and innovative thinkers. Emotional and social intelligence, the ability to collaboratively problem-solve, negotiate, and mediate complex conflict are essential skills needed for success particularly in increasingly settlement-oriented environments. Studies and reports have noted, however, that practitioners are lacking these key skills. How can these new perspectives and essential skills be taught and developed? This mixed methods research study involved five professional musicians and thirty-eight first year law school students. Data from musicians regarding effective collaborative music-making and most valued capacities for achieving optimal outcomes informed the design of a comparative teaching study that explored the effects of introducing a music-based metaphor and pedagogical approach to teaching, learning, and resolving conflict. The study provided insights into whether and how the musical ensemble metaphor might assist in shifting adversarial combative and competitive frames toward more collaborative, settlement-oriented mindsets and whether and how music-infused pedagogy might assist in developing enhanced skills and practice behaviours that lead to more desirable outcomes. Results from this initial study suggest that non-musicians in non-musical environments are able to learn from musical metaphors and concepts related to ensemble music-making and that such learning – cognitive, affective, and behavioural – translates into changed and more effective behaviour in practice. In simulated scenarios students exposed to the musical metaphor and other music-based learning appeared to outperform their colleagues not exposed to similar music-based learning. Engagement with music appears to reconnect people to their creative potential and lead them to see the efficacy of employing creative thinking in professional environments where analytical and critical thinking have generally been over-emphasized. There are indications that experiences with collaborative approaches to conflict have the potential to shift traditional norms and behaviours. This study and its results are of interest to those in the field of law, conflict resolution, those exploring arts-based teaching and learning in other professions, such as leadership and organizational behaviour, to music educators, and educators at all levels generally