Musicolinguistic documentation: Tone & tune in Tlahuapa Tù'un Sàví songs

This study introduces a new methodology for integrating musical and linguistic data in language documentation, using ABC notation and open-source tools like ELAN and MuseScore. Designed for portability and exportability, and to facilitate both linguistic analysis and community-oriented material development, this methodology is used here to explore the link between linguistic tone and musical tune in Tlahuapa Tù'un Sàví, a Mixtec language of Guerrero, Mexico. Through a multimodal analysis of three Tlahuapa Tù'un Sàví songs, this study illuminates several interactions between tone and tune, including a strong preference for melodic lines to move in parallel with the tone melody of the lyrics and associations between musical ornamentation and specific tonemes. The results of this study not only increase our understanding of the tonal system of Tlahuapa Tù'un Sàví and its interaction with musical style but also help illustrate the rich potential of musical data in linguistic research and documentation. More than simply language data with a melody, the combination of music and language in song offers a unique opportunity for analysis not otherwise possible, and the methodologies demonstrated here aim to make this combination as accessible as possible for researchers, archivers, and community members alike.National Foreign Language Resource Cente

Dynamical Interactions with Electronic Instruments

This paper examines electronic instruments that incorporate dynamical systems, where the behaviour of the instrument depends not only upon the immediate input to the instrument, but also on the past input. Five instruments are presented as case studies: Michel Waisvisz’ Crackle-box, Dylan Menzies’ Spiro, no-input mixing desk, the author’s Feedback Joypad, and microphone-loudspeaker feedback. Links are suggested between the sonic affordances of each instrument and the dynamical mechanisms embedded in them. These affordances are contrasted with those of non-dynamical instruments such as the Theremin and sample-based instruments. This is discussed in the context of contemporary, material-oriented approaches to composition and particularly to free improvisation where elements such as unpredictability and instability are often of interest, and the process of exploration and discovery is an important part of the practice

Empirical modelling principles to support learning in a cultural context

Much research on pedagogy stresses the need for a broad perspective on learning. Such a perspective might take account (for instance) of the experience that informs knowledge and understanding [Tur91], the situation in which the learning activity takes place [Lav88], and the influence of multiple intelligences [Gar83]. Educational technology appears to hold great promise in this connection. Computer-related technologies such as new media, the internet, virtual reality and brain-mediated communication afford access to a range of learning resources that grows ever wider in its scope and supports ever more sophisticated interactions. Whether educational technology is fulfilling its potential in broadening the horizons for learning activity is more controversial. Though some see the successful development of radically new educational resources as merely a matter of time, investment and engineering, there are also many critics of the trends in computer-based learning who see little evidence of the greater degree of human engagement to which new technologies aspire [Tal95]. This paper reviews the potential application to educational technology of principles and tools for computer-based modelling that have been developed under the auspices of the Empirical Modelling (EM) project at Warwick [EMweb]. This theme was first addressed at length in a previous paper [Bey97], and is here revisited in the light of new practical developments in EM both in respect of tools and of model-building that has been targetted at education at various levels. Our central thesis is that the problems of educational technology stem from the limitations of current conceptual frameworks and tool support for the essential cognitive model building activity, and that tackling these problems requires a radical shift in philosophical perspective on the nature and role of empirical knowledge that has significant practical implications. The paper is in two main sections. The first discusses the limitations of the classical computer science perspective where educational technology to support situated learning is concerned, and relates the learning activities that are most closely associated with a cultural context to the empiricist perspective on learning introduced in [Bey97]. The second outlines the principles of EM and describes and illustrates features of its practical application that are particularly well-suited to learning in a cultural setting

Discourse Analysis

This chapter (a) presents discourse analysis as both epistemology and methodology; (b) suggests a sociolinguistic toolkit that could be used as one type of approach to conducting discourse analysis; (c) reviews and points to literature in music education and music therapy that have used such epistemological and methodological tools; and (d) suggests that, by engaging with discourse analysis, we can begin to ask questions about participants and their interactions within environments where music therapists operate and analyze prevailing discourses within structures and systems of music therapy. [excerpt

Nonlinear Dynamics In Musical Interactions

This thesis examines nonlinear dynamical processes in musical tools, identifying certain roles that they play in creative interactions with existing tools, and investigates the roles they might play in digital tools. Nonlinear dynamical processes are fundamental in the everyday physical world. They lie at the core of many acoustic instruments, playing a particularly significant role in bowed and blown instruments. Two major studies are presented that approach these issues from different perspectives. Firstly a set of comparative studies explore the ways in which musicians engage with systems that do and do not incorporate nonlinear dynamical processes. Secondly, interviews with a range of musicians engaged in contemporary musical practices — particularly free improvisation — are used to investigate the role of nonlinear dynamical processes in instrumental interactions in relation to unpredictability and creative exploration. Evidence is presented demonstrating that nonlinear dynamical processes can be drawn on as resources for exploration over long time periods. An approach to creative interaction that explicitly draws on the properties of nonlinear dynamical processes is uncovered and connected to material-oriented notions of creative processes. Nonlinear dynamics are shown to facilitate a productive ‘‘sweet spot’’ between unpredictability and complexity on the one hand, and detailed, sensitive, deterministic control, coupled with the potential to repeat and develop particular actions on the other. The importance of timing in interactions with nonlinear dynamical processes is highlighted as being significant in creating explorable interactions, particularly close to critical thresholds. A distinction is raised between instantaneous unpredictabilities that emerge from the interaction with the tool (interactional ), and unpredictabilities that result from the unexpected implications of the conjunction of otherwise anticipated elements (combinatorial). While the usefulness of the latter in creative interactions is frequently acknowledged in HCI research, the former is often excluded, or seen as a hinderance or obstruction. Engagements with nonlinear dynamical processes in existing musical instruments and practices provide clear evidence of the utility of both nonlinear dynamics, and interactional surprises more generally, suggesting that they can be of use in other domains where creative exploration is a concern

Backwards is the way forward: feedback in the cortical hierarchy predicts the expected future

Clark offers a powerful description of the brain as a prediction machine, which offers progress on two distinct levels. First, on an abstract conceptual level, it provides a unifying framework for perception, action, and cognition (including subdivisions such as attention, expectation, and imagination). Second, hierarchical prediction offers progress on a concrete descriptive level for testing and constraining conceptual elements and mechanisms of predictive coding models (estimation of predictions, prediction errors, and internal models)

Methodological considerations concerning manual annotation of musical audio in function of algorithm development

In research on musical audio-mining, annotated music databases are needed which allow the development of computational tools that extract from the musical audiostream the kind of high-level content that users can deal with in Music Information Retrieval (MIR) contexts. The notion of musical content, and therefore the notion of annotation, is ill-defined, however, both in the syntactic and semantic sense. As a consequence, annotation has been approached from a variety of perspectives (but mainly linguistic-symbolic oriented), and a general methodology is lacking. This paper is a step towards the definition of a general framework for manual annotation of musical audio in function of a computational approach to musical audio-mining that is based on algorithms that learn from annotated data. 1

Space

Sound and space—however one defines these terms—are phenomenologically and ontologically intertwined

A Child-Directed Music Curriculum in the Montessori Classroom: Results of a Critical Participatory Action Research Study

Maria Montessori strongly advocated for music learning to be fully integrated into the classroom; however, many Montessori classrooms are dominated by materials aimed at developing children’s visual sense. The purpose of this critical participatory action research (CPAR) study was to address this perceived learning disparity by developing and implementing a curriculum that is consistent with the Montessori approach, child directed, and focused on sound examination and music learning. We designed six shelf works and offered them, over the course of 6 CPAR cycles, to 20 3- to 6-year-old children attending a Montessori school. Findings from qualitative and quantitative data indicate that the children received the works positively, chose to engage with them, became more confident in their musical tasks over time, showed signs of deep concentration and attention, and demonstrated consistent performance across similar tasks related to perception and cognition. We conclude that the presence of these 6 curricular works began to disrupt the perceived learning disparity we identified; however, more can be done to understand and change the classroom practices that support that disparity

Creative professional users musical relevance criteria

Although known item searching for music can be dealt with by searching metadata using existing text search techniques, human subjectivity and variability within the music itself make it very difficult to search for unknown items. This paper examines these problems within the context of text retrieval and music information retrieval. The focus is on ascertaining a relationship between music relevance criteria and those relating to relevance judgements in text retrieval. A data-rich collection of relevance judgements by creative professionals searching for unknown musical items to accompany moving images using real world queries is analysed. The participants in our observations are found to take a socio-cognitive approach and use a range of content and context based criteria. These criteria correlate strongly with those arising from previous text retrieval studies despite the many differences between music and text in their actual content