211,915 research outputs found

    The Ohio State University Libraries Audiovisual Assessment Interim Report

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    The 26-month audiovisual (AV) assessment took place from June 2017 to August 2019 with a focus on rare or unique audiovisual items. Curators and archivists within each unit identified collections or collecting areas for significance or research value. Approximately 65% of AV materials in seven library units has not been assessed. Upon completion, 18,389 audiovisual items in 32 distinct formats were individually assessed

    The Fine Art of Commercial Freedom: British Music Videos and Film Culture

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    An outline and analysis of the British music video industry and its impact on film culture in the 1990s and 2000s

    Video as art: collecting artists’ moving image in academic art libraries

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    Video collections have been part of library holdings for several decades, but developing and managing these collections presents a number of challenges. This is the case particularly for artists’ film and video, and this article attempts to identify the issues involved and to offer some practical guidance, drawing on the experience of collection development and management at Chelsea College of Art and Design Library, and across the libraries of University of the Arts London and elsewhere

    Using audio visuals to illustrate concepts

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    This short pedagogic paper investigates the use of audio visual presentation techniques to enhance teaching and learning in the classroom. It looks at the current 'MTV' generation of students who find it difficult to concentrate for long periods of time

    Running up Blueberry Hill: Prototyping whole body interaction in harmony space

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    Musical harmony is considered to be one of the most abstract and technically difficult parts of music. It is generally taught formally via abstract, domain-specific concepts, principles, rules and heuristics. By contrast, when harmony is represented using an existing interactive desktop tool, Harmony Space, a new, parsimonious, but equivalently expressive, unified level of description emerges. This focuses not on abstract concepts, but on concrete locations, objects, areas and trajectories. This paper presents a design study of a prototype version of Harmony Space driven by whole body navigation, and characterizes the new opportunities presented for the principled manipulation of chord sequences and bass lines. These include: deeper engagement and directness; rich physical cues for memory and reflection, embodied engagement with rhythmic time constraints; hands which are free for other simultaneous activities (such as playing a traditional instrument); and qualitatively new possibilities for collaborative use

    Portfolio of compositions

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    This text contains a short general description of my experience at the University of Birmingham. This is an attempt to communicate how my perception in composing music has changed and evolved. The focus is to introduce briefly my experience before I arrived at the University of Birmingham, then go through all the compositions I have worked on during my PhD programme. This attempt is to explain the main processes I have used for composing, giving a wider view of the issues that I was interested in developing. Furthermore, I will consider some technical aspects with reference to facilities that the University of Birmingham offers to students. This appears to be the right opportunity for them to explore technology almost without any restrictions. I also give some information about other nonmusical issues, which I was interested in developing in order to look into personal aesthetic directions. My main reason for being at the University of Birmingham was to explore compositional processes different from my previous experiences, in order to enlarge my abilities and perspectives in music composition

    Physically inspired interactive music machines: making contemporary composition accessible?

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    Much of what we might call "high-art music" occupies the difficult end of listening for contemporary audiences. Concepts such as pitch, meter and even musical instruments often have little to do with such music, where all sound is typically considered as possessing musical potential. As a result, such music can be challenging to educationalists, for students have few familiar pointers in discovering and understanding the gestures, relationships and structures in these works. This paper describes on-going projects at the University of Hertfordshire that adopt an approach of mapping interactions within visual spaces onto musical sound. These provide a causal explanation for the patterns and sequences heard, whilst incorporating web interoperability thus enabling potential for distance learning applications. While so far these have mainly driven pitch-based events using MIDI or audio files, it is hoped to extend the ideas using appropriate technology into fully developed composition tools, aiding the teaching of both appreciation/analysis and composition of contemporary music
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