Gesture-sound causality from the audience’s perspective: : investigating the aesthetic experience of performances with digital musical instruments.

In contrast to their traditional, acoustic counterparts, digital musical instruments (DMIs) rarely feature a clear, causal relationship between the performer’s actions and the sounds produced. They often function simply as systems for controlling digital sound synthesis, triggering computer-generated audio. This study aims to shed light on how the level of perceived causality of DMI designs impacts audience members’ aesthetic responses to new DMIs. In a preliminary survey, 49 concert attendees listed adjectives that described their experience of a number of DMI performances. In a subsequent experiment, 31 participants rated video clips of performances with DMIs with causal and acausal mapping designs using the eight most popular adjectives from the preliminary survey. The experimental stimuli were presented in their original version and in a manipulated version with a reduced level of gesture-sound causality. The manipulated version was created by placing the audio track of one section of the recording over the video track of a different section. It was predicted that the causal DMIs would be rated more positively, with the manipulation having a stronger effect on the ratings for the causal DMIs. Our results confirmed these hypotheses, and indicate that a lack of perceptible causality does have a negative impact on ratings of DMI performances. The acausal group received no significant difference in ratings between original and manipulated clips. We posit that this result arises from the greater understanding that clearer gesture-sound causality offers spectators. The implications of this result for DMI design and practice are discussed. (PsycINFO Database Record (c) 2018 APA, all rights reserved

Co-tuning virtual-acoustic performance ecosystems: observations on the development of skill and style in the study of musician-instrument relationships

In this paper we report preliminary observations from an ongoing study into how musicians explore and adapt to the parameter space of a virtual-acoustic string bridge plate instrument. These observations inform (and are informed by) a wider approach to understanding the development of skill and style in interactions between musicians and musical instruments. We discuss a performance-driven ecosystemic approach to studying musical relationships, drawing on arguments from the literature which emphasise the need to go beyond simplistic notions of control and usability when assessing exploratory and performatory musical interactions. Lastly, we focus on processes of perceptual learning and co-tuning between musician and instrument, and how these activities may contribute to the emergence of personal style as a hallmark of skilful music-making

The effects of computer-assisted keyboard technology and MIDI accompaniments on group piano students' performance accuracy and attitudes.

Recommendations from the results include using CAI such as the Guide Mode to help group piano students improve in pitch accuracy during the early stages of learning new repertoire. After students feel comfortable with the pitches, practicing with MIDI accompaniments but without the Guide Mode may assist in the development of rhythmic continuity. However, teachers should not assume that the technology is an automatic way of improving piano performance. More time to practice with the technology outside of the classroom setting may be needed to observe any longer term effects on students' performance.Perceptions of MIDI accompaniments and the Guide Mode's effectiveness in helping students improve performance accuracy were generally positive. In open-ended responses, a majority of the participants from the Guide Mode group expressed that practicing with the Guide Mode was the most helpful part of the practice sessions. Students also reported that they made greater improvement when they practiced hands separately. Some subjects also stated that the use of MIDI accompaniments helped keep their rhythm steady. Other subjects believed that the use of technology had no effect on their performance.This study investigated the effects of musical instrument digital interface (MIDI) accompaniment and computer-assisted instruction (CAI) technology on group piano students' performance accuracy and attitudes. Subjects ( N = 29) in this quasi-experimental design were non-keyboard music major college students in four intact third semester piano classes. Two of the classes were assigned to a group that practiced with the Guide Mode on Yamaha Clavinova keyboards and MIDI accompaniment, while the other two classes were assigned to a group that practiced without the Guide Mode but with MIDI accompaniment.The researcher compared the posttest scores to the pretest scores within subjects for significant differences in performance accuracy due to the treatment. Differences in pretest and posttest scores were also compared between the Guide Mode group and the MIDI-only group. Four outliers were identified as possibly skewing the data. When the outliers were removed, the group that practiced with the Guide Mode (n = 19) demonstrated significantly better improvement in total pitch errors in comparison to the control group (n = 10), p < .05. No significant difference in rhythmic errors emerged between groups. Within groups, participants made significant improvement in overall accuracy from pretests to posttests.Subjects' performances of two piano compositions were first recorded as pretests. Afterwards each class practiced the same two compositions with their respective treatment for two weeks in class. Subjects then recorded the two compositions as posttests. Three judges evaluated the pretest and posttest recordings for accuracy in pitch and rhythm. A Likert-type questionnaire investigated subjects' attitudes toward practicing with the Guide Mode and MIDI accompaniment

Malcom Braff's Approach to Rhythm for Improvisation: Definition, Analysis and Aesthetic

A dissertation submitted to the faculty of humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of MMUS. Johannesburg 2017In this study I have investigated Malcolm Braff’s rhythmic approach and particularly his application of this approach for improvisation and composition. The Brazilian born, partially West African raised, now European Braff is shown to be a product of jazz and freely improvised music of Europe, and equally, a product of church music, progressive rock of the 1970’s and the Western classical canon, with influences from West African traditional music and Indian classical music. Much of Braff’s motivation for his methods of creating music is spiritual and philosophical. I have interrogated his musical theories, many of which stem from his spiritual philosophies. Additionally this study describes the necessary settings, musical and otherwise, for the creation of Braff’s music. For the majority of this study Braff’s rhythmic approach and the application thereof have been scrutinized through current rhythm theory, particularly with regard to rhythmic cognition, in an effort to understand Braff’s theories and descriptions of practise in accordance with what is currently understood in the field of rhythm. Through careful consideration of Braff’s work through the lenses of rhythm theorists, London (2012), Iyer (2002, 2004) and Gordon (2009) in particular, by looking at Braff’s recordings and his explanations, I determined that his claims seem plausible, even probable. Furthermore his approach to training rhythmic audiation, advanced and otherwise, and for stretching the audiational connection between metric and tonal audiation also appear valid and useful for training musicians that wish to further their own abilities. In addition this research revealed that Braff’s approach seems to require audiation of a meter not currently defined as such in current theory. I have defined such meters as metric-bridges since they connect two generally unrelated meters, but act as a meter themselves. The metric-bridge phenomenon is a possible way to describe commonly described ‘swung eighths’ in jazz, altered triplets in West African music, or Brazilian sixteenths cognitively, practically and theoretically. The study investigates how Braff has utilized these metric-bridges in his own compositions and how he often improvises while audiating these meters. Since this kind of audiation is not clearly defined in current rhythm theory, I have proposed some additional considerations with regard to the audiation of these meters, in the hope of aiding further study. Lastly, this study investigates how Braff describes and utilizes the more advanced rhythmic devices in both his improvisations and compositions. These devices include the use of quintuplets, sextuplets, septuplets, specific Braffian rhythm patterns, rhythmic displacement, metric modulation, metric transfiguration, and musical algorithm.MC201

Synthesized: A Narrative Exploring the Perception of Analog Synthesizer Enthusiasts\u27 Identity and Communication

This document is a written reflection of the production process of the creative project Synthesized, a scholarly-rooted documentary exploring the analog synthesizer world with focus on organizational structure and perception of social identity. After exploring how this production complements existing works on the synthesizer, electronic music, identity, Communication and group association, this reflection explores my creative process and decision making as an artist and filmmaker through the lens of a qualitative researcher. As part of this, I will discuss logistic, as well as artistic and creative, challenges. This includes how I negotiated limited access, resources, time constraints, selecting an event and potential participants according to set parameters, lighting and acoustic conditions at venues, avoiding copyright violations, obtaining proper permission to film, and the scheduling of production and editing. The production of Synthesized is the story of my process of deepening and challenging my own understanding of the culture of analog synthesizer enthusiasts; field observations and interviews, gathering and exploring relevant documents, and other interpretive and creative processes of knowledge production were part of the documentary filmmaking process. Consequently, the production process overlaps with aspects of traditional qualitative research. This paper will take a closer look at the relationship between data collection and filming, as well as footage review, editing techniques, and theme selection, and how they relate to qualitative analysis. It is my hope that these reflections will eliminate the notion that data collection can only be undertaken in a purely scientific manner and that the lines can blur between creative exploration and traditional research

A Content Analysis of Beginning Guitar, Electric Bass, and String Bass Method Books

Guitar instruction is an integral part of 21st-century best music education practices. This quantitative study compares six beginning guitar method books to beginning electric bass and string bass books. The books in the sample are Essential Elements for Guitar by Will Schmid and Bob Morris, Mel Bay\u27s Modern Guitar Method Grade 1 Expanded Edition, Alfred\u27s Basic Guitar Method by Morty Manus and Ron Manus, FJH Young Beginner Guitar Method Lesson Book 1, Belwin 21st Century Guitar Method 1 (2nd edition) by Aaron Stang, and KJOS Guitar Sessions Book 1: A Comprehensive Method for Individual or Group Study by Kevin Daley. The control group includes Essential Elements 2000 Electric Bass Book 1 and Essential Elements for Strings Double Bass Book 1. Fundamental music elements for beginning instrumental ensembles are established in the control group. The sample group is then compared to the control group to determine which method book aligns most closely with the control group. This content analysis can be used by music educators to determine which method books facilitate integrating guitars into beginning band and orchestra ensembles

Virtual orchestration: a film composer's creative practice

The advent of digital technologies has led to a major change in the process of film music composition; consequent developments in music technology have forced film composers to adapt to this change. Technological innovations such as digital audio workstations (DAWs) and virtual musical instruments have made possible the creation of virtual orchestras that are technologically capable of simulating the sound and behaviour of a traditional acoustic orchestra. This has had an effect on film music production and on the creative process of the professional film composer in a way that today, creating orchestral simulations or 'mock-ups' that imitate live orchestras (or smaller ensembles) has become a requirement in the film industry and thus an essential part of the film-scoring process. In the context of contemporary film music production, this thesis investigates how orchestral simulations are composed and created using computer music technology and virtual sample-based instruments. In asking 'how', the focus is on the film composer's activities and thought processes during this creative cycle, along with the nature of the interactive relationship between composer and music materials. This study aims to show the complexity of the film composer's creative practice and to advance understanding of how the use of computer music technology and orchestral sample libraries is influencing the compositional process and compositional outcome. To address these questions, a qualitative multiple case study methodology approach was chosen that included examination of the practice of seven professional film composers working in the field of feature film as the primary valid source of data. The exploration involved semi-structured interviews with composers, observations and analysis of their studio practice and inspection of their compositional tools. Taken as a whole, the evidence provided by this study is that the process of creating orchestral simulations is a process of film music composition during which professional film composers are creating orchestral sounds through the use of computers, digital sequencing, samplers and sample-based virtual acoustic instruments for the realisation of musical works. It is a process of using and manipulating recorded samples of real acoustic instruments to generate an expressive and convincing musical performance through sample-based orchestral simulation. A characteristic of this compositional practice is that it is a continuous process that proceeds in stages over time where all procedures can be applied repeatedly between stages. The process of creating orchestral simulations for the purpose of the film score is a multifaceted compositional activity involving a complex set of relationships among different compositional states of mind and compositional activities in which film composers experience music and interact with musical materials and media in various ways. This creative activity is a process involving a single person and a mixture of various compositional tools, the composer's skills and abilities brought into existence through a creative process that requires a thorough blend of art and craft to be demonstrated at all times

MUSIC THERAPISTS’ PERCEPTIONS AND PRACTICES REGARDING MUSICAL AUTHENTICITY IN MUSIC THERAPY PRACTICE

Music therapists are expected to provide live music for clients with diverse preferences, yet these therapists face many barriers preventing them from recreating client-preferred music in a way that adheres to the expectations of the genre, or with “musical authenticity.” The purpose of this study was to investigate music therapists’ perceptions and practices regarding musical authenticity. Survey responses (n = 904) indicated that music therapists highly value musical authenticity, but a major theme in the qualitative data revealed they often balance its importance with other factors. Descriptive survey data and qualitative themes revealed lack of training in functional musicianship and electronic technology as major barriers to musical authenticity. A major qualitative theme regarding therapists’ practices was the use of collaboration with clients and creative solutions. Most participants indicated use of non-electronic strategies and reported they had not used electronic technology to increase musical authenticity. Descriptive survey data and qualitative themes revealed frequent and effective use of recorded music. Finally, chi-square analyses revealed significant relationships between age and use of technology and iPad and between gender and use of technology. Music therapists would benefit from additional training, more research on authenticity, and music therapy specific guidelines for using music authentically

Student Perspectives on the Music-Learning Culture in a Competitive High School Music Program in the United States

“Interactions between the musical lives of adolescents’ and school music-learning culture may be enhanced by acknowledging students’ musical engagement outside of school, accepting their personal musical knowledge and tastes, and allowing them to help develop music-learning models based on their personal relationships with music” (Snead, 2010). Further understanding of the music-learning culture within high school programs may aid researchers in better determining the factors that persuade or alienate student populations from in-school musicking (Small, 1998). The purpose of this case study was to determine possible factors that may have contributed to student perceptions of the music-learning culture within a musically competitive high school setting and how these factors effected participation in music learning. Participants were drawn from a suburban high school in the Southeastern United States. After collecting questionnaires (N=352), students were divided into five musicking groups based on how they chose to participate in music – Primary, Secondary, Hybrid, Outside, and Non-Musicking. The questionnaire addressed participants’ musical lives inside and outside of the school setting. A second questionnaire was then distributed to the school music teachers using open-ended questions in order to provide further insight into the music-learning culture and to determine commonalities and discrepancies between student and teacher perceptions of the music-learning culture. Results of this study indicated that the competitive nature of the music-learning culture was responsible for exciting a portion of the student population while causing others to feel apathetic and/or excluded. This alienation seemed to either motivate students to find musical experiences outside of the school environment or caused some to give up on their musical aspirations altogether. Although some participants indicated that they felt disaffected with the music programs within their school, they did not fault the music directors, whose perceptions of the music-learning culture differed from those of students. The competitive nature of the music program and course offerings were found to be the largest factors in both persuading and dissuading music participation