69,632 research outputs found
Research Report - October 2009. Elaboration of the Module: Definition of the Programme
Alternative innovative didactic methodology is needed to reduce premature school drop out,particularly of young people at risk of exclusion, such as migrants, ethnic groups and children/teenagers from difficult socio-economic background). The key point is to modify the way to deliver learning. Cultural enrichment through young interestas such as music and art, use of technologies, social competencies, problem-solving skills incomputer science, autonomy and sense of purpose may help childhood and adolescence to achieve an improved engagement in school and a sense of educational accomplishmen
Experimental Approaches to the Composition of Interactive Video Game Music
This project explores experimental approaches and strategies to the composition of interactive music for the medium of video games. Whilst music in video games has not enjoyed the technological progress that other aspects of the software have received, budgets expand and incomes from releases grow. Music is now arguably less interactive than it was in the 1990âs, and whilst graphics occupy large amounts of resources and development time, audio does not garner the same attention. This portfolio develops strategies and audio engines, creating music using the techniques of aleatoric composition, real-time remixing of existing work, and generative synthesisers.
The project created music for three âopen-formâ games : an example of the racing genre (Kart Racing Pro); an arena-based first-person shooter (Counter-Strike : Source); and a
real-time strategy title (0 A.D.). These games represent a cross-section of âsandboxâ- type games on the market, as well as all being examples of games with open-ended or
open-source code
Assessing a Collaborative Online Environment for Music Composition
The current pilot study tested the effectiveness of an e-learning environment built to enable students to compose
music collaboratively. The participants interacted online by using synchronous and asynchronous resources to
develop a project in which they composed a new music piece in collaboration. After the learning sessions,
individual semi-structured interviews with the participants were conducted to analyze the participants\u2019
perspectives regarding the e-learning environment\u2019s functionality, the resources of the e-learning platform, and
their overall experience with the e-learning process. Qualitative analyses of forum discussions with respect to
metacognitive dimensions, and semi-structured interview transcriptions were performed. The findings showed
that the participants successfully completed the composition task in the virtual environment, and that they
demonstrated the use of metacognitive processes. Moreover, four themes were apparent in the semi-structured
interview transcriptions: Teamwork, the platform, face-to-face/online differences, and strengths/weaknesses.
Overall, the participants exhibited an awareness of the potential of the online tools, and the task performed. The
results are discussed in consideration of metacognitive processes, and the following aspects that rendered virtual
activity effective for learning: The learning environment, the platform, the technological resources, the level of
challenge, and the nature of the activity. The possible implications of the findings for research on online
collaborative composition are also considered
Playing with Play: Machinima in the Classroom
âSo, machinima is really a genre, and not a medium?â
The students in my Digital Media and Rhetoric course are grappling with both how to define machinima and how to evaluate whether one is âgoodâ or not. I frustrate them by refusing to provide a definitive answer to this and other similar questions they have asked about the form. This intentional frustration continues as, after watching a few examples they ask me what grade I would give those machinima, if they were turned in for this assignment. Rather than providing a simple answer I redirect, asking them what criteria they would use to evaluate machinima and how the examples weâve seen in class stand up to this scrutiny. At the beginning of this particular unit, when I announced that we wouldnât be writing another research paper, they were exuberant. Now, however, the complexity of the task before them is slowly unveiling itself. While a majority of these students are gamers, few of them have experience in video production. None of them have previously looked at fan culture as a source of meaning and knowledge production. We are in unfamiliar territory, and they are getting restless
Automatic Music Composition using Answer Set Programming
Music composition used to be a pen and paper activity. These these days music
is often composed with the aid of computer software, even to the point where
the computer compose parts of the score autonomously. The composition of most
styles of music is governed by rules. We show that by approaching the
automation, analysis and verification of composition as a knowledge
representation task and formalising these rules in a suitable logical language,
powerful and expressive intelligent composition tools can be easily built. This
application paper describes the use of answer set programming to construct an
automated system, named ANTON, that can compose melodic, harmonic and rhythmic
music, diagnose errors in human compositions and serve as a computer-aided
composition tool. The combination of harmonic, rhythmic and melodic composition
in a single framework makes ANTON unique in the growing area of algorithmic
composition. With near real-time composition, ANTON reaches the point where it
can not only be used as a component in an interactive composition tool but also
has the potential for live performances and concerts or automatically generated
background music in a variety of applications. With the use of a fully
declarative language and an "off-the-shelf" reasoning engine, ANTON provides
the human composer a tool which is significantly simpler, more compact and more
versatile than other existing systems. This paper has been accepted for
publication in Theory and Practice of Logic Programming (TPLP).Comment: 31 pages, 10 figures. Extended version of our ICLP2008 paper.
Formatted following TPLP guideline
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