4 research outputs found
Rethinking musical modernism
ΠΠ±ΠΎΡΠ½ΠΈΠΊ ΠΊΠΎΡΠΈ ΡΠ΅ ΠΏΡΠ΅Π΄ ΡΠΈΡΠ°ΠΎΡΠΈΠΌΠ° ΡΠ°Π΄ΡΠΆΠΈ ΡΠ°Π΄ΠΎΠ²Π΅ ΠΏΡΠ΅ΡΡ
ΠΎΠ΄Π½ΠΎ ΠΏΡΠ΅Π΄ΡΡΠ°Π²ΡΠ΅Π½Π΅ Π½Π° ΠΌΠ΅ΡΡΠ½Π°ΡΠΎΠ΄Π½ΠΎΠΌ Π½Π°ΡΡΠ½ΠΎΠΌ ΡΠΊΡΠΏΡ ΠΡΠ·ΠΈΡΠΊΠΈ ΠΌΠΎΠ΄Π΅ΡΠ½ΠΈΠ·Π°ΠΌ - Π½ΠΎΠ²Π° ΡΡΠΌΠ°ΡΠ΅ΡΠ° ΠΊΠΎΡΠΈ ΡΠ΅ Ρ ΠΎΡΠ³Π°Π½ΠΈΠ·Π°ΡΠΈΡΠΈ ΠΡΠ·ΠΈΠΊΠΎΠ»ΠΎΡΠΊΠΎΠ³ ΠΈΠ½ΡΡΠΈΡΡΡΠ° Π‘ΠΠΠ£ ΠΈ ΠΎΠ΄Π΅ΡΠ΅ΡΠ° Π»ΠΈΠΊΠΎΠ²Π½Π΅ ΠΈ ΠΌΡΠ·ΠΈΡΠΊΠ΅ ΡΠΌΠ΅ΡΠ½ΠΎΡΡΠΈ Π‘ΠΠΠ£ ΠΎΠ΄ΡΠΆΠ°Π½ Ρ ΠΠ΅ΠΎΠ³ΡΠ°Π΄Ρ ΠΎΠ΄ 11. Π΄ΠΎ 13. ΠΎΠΊΡΠΎΠ±ΡΠ° 2007. Π³ΠΎΠ΄ΠΈΠ½Π΅. Π§ΠΈΡΠ΅Π½ΠΈΡΠΎΠΌ Π΄Π° ΡΠ΅ ΡΠ°Π΄Π½ΠΈ ΡΠ΅Π·ΠΈΠΊ ΡΠΊΡΠΏΠ° Π±ΠΈΠΎ Π΅Π½Π³Π»Π΅ΡΠΊΠΈ, ΠΎΠ±ΡΠ°ΡΡΠ°Π²Π° ΡΠ΅ ΠΎΠ±ΡΠ°Π²ΡΠΈΠ²Π°ΡΠ΅ ΡΠ΅ΠΊΡΡΠΎΠ²Π° Π½Π° ΡΠΎΠΌ ΡΠ΅Π·ΠΈΠΊΡ (Ρ ΡΠ΅Π΄Π½ΠΈΠΌ ΠΎΠΏΡΠ°Π²Π΄Π°Π½ΠΈΠΌ ΠΈΠ·ΡΠ·Π΅ΡΠΊΠΎΠΌ).
Π¦ΠΈΡ ΡΠΊΡΠΏΠ° Π±ΠΈΠΎ ΡΠ΅ Π΄Π° ΡΠ΅ ΠΏΠΎΠ΄ΡΡΠ°ΠΊΠ½Ρ ΠΈ ΠΏΡΠΈΠΊΠ°ΠΆΡ Π½ΠΎΠ²Π° ΡΠ°Π³Π»Π΅Π΄Π°Π²Π°ΡΠ° ΡΡΠ²Π°ΡΠ°Π»Π°ΡΡΠ²Π° ΠΌΡΠ·ΠΈΡΠΊΠΎΠ³ ΠΌΠΎΠ΄Π΅ΡΠ½ΠΈΠ·ΠΌΠ°, ΡΠ»ΠΎΠΆΠ΅Π½ΠΎΠ³ ΠΏΠΎΠΊΡΠ΅ΡΠ° ΡΠΈΡΠ΅ ΡΠ΅ Π΄Π΅Π»ΠΎΠ²Π°ΡΠ΅ ΠΎΠ±Π΅Π»Π΅ΠΆΠΈΠ»ΠΎ ΡΠ°Π·Π²ΠΎΡ ΠΌΡΠ·ΠΈΠΊΠ΅ ΡΠΊΠΎΡΠΎ ΡΠ΅Π»ΠΎΠ³ XX Π²Π΅ΠΊΠ°, Π° ΠΏΡΠ²Π΅Π½ΡΡΠ²Π΅Π½ΠΎ Π΄Π° ΡΠ΅ Π½Π° ΡΠ²Π΅ΠΆ Π½Π°ΡΠΈΠ½ ΠΏΡΠΎΡΡΠΌΠ°ΡΠ΅ Π΅ΡΡΠ΅ΡΠΈΡΠΊΠ΅ Π΄ΠΈΠ»Π΅ΠΌΠ΅ ΠΈ ΡΠ°ΡΠΏΡΠ°Π²Π΅ ΠΎ ΠΊΠ°ΡΠ°ΠΊΡΠ΅ΡΠΈΡΡΠΈΠΊΠ°ΠΌΠ°, ΡΠΌΠΈΡΠ»Ρ ΠΈ Π·Π½Π°ΡΠ΅ΡΡ ΡΠ°Π·Π½ΠΎΠ²ΡΡΠ½ΠΈΡ
ΠΈ ΡΠ΅ΡΡΠΎ ΠΊΠΎΠ½ΡΡΠ°Π΄ΠΈΠΊΡΠΎΡΠ½ΠΈΡ
ΡΡΡΠ΅ΠΌΡΠ΅ΡΠ° Ρ ΠΎΠ²ΠΎΠΌ ΡΠ°Π·Π΄ΠΎΠ±ΡΡ. Π’Π΅ΠΌΠ°ΡΡΠΊΠΈ ΡΠΏΠ΅ΠΊΡΠ°Ρ ΠΏΡΠΈΠΊΠ°Π·Π°Π½ΠΈΡ
ΡΠ°Π΄ΠΎΠ²Π° Π±ΠΈΠΎ ΡΠ΅ ΠΈΠ·ΡΠ·Π΅ΡΠ½ΠΎ ΡΠΈΡΠΎΠΊ: ΠΊΡΠ΅ΡΠ°ΠΎ ΡΠ΅ ΠΎΠ΄ ΠΏΡΠ΅ΠΈΡΠΏΠΈΡΠΈΠ²Π°ΡΠ° ΠΌΡΠ·ΠΈΡΠΊΠΎΠ³ ΠΌΠΎΠ΄Π΅ΡΠ½ΠΈΠ·ΠΌΠ° ΠΏΠΎΠΌΠΎΡΡ ΠΊΠ°ΡΠ΅Π³ΠΎΡΠΈΡΠ° Π½ΠΎΡΡΠ°Π»Π³ΠΈΡΠ΅ ΠΈ ΠΏΡΠΈΡΠ²Π°ΡΠ°ΡΠ°, ΠΏΡΠ΅ΠΊΠΎ ΡΠ°Π³Π»Π΅Π΄Π°Π²Π°ΡΠ° ΠΎΠ΄Π½ΠΎΡΠ° ΡΠ΅Π½ΡΠ°ΡΠ° ΠΈ ΠΏΠ΅ΡΠΈΡΠ΅ΡΠΈΡΠ΅, Π΄ΠΎ ΡΠ°Π·ΠΌΠ°ΡΡΠ°ΡΠ° ΡΠ»ΠΎΠΆΠ΅Π½ΠΈΡ
Π²Π΅Π·Π° ΠΈΠ·ΠΌΠ΅ΡΡ ΠΌΠΎΠ΄Π΅ΡΠ½ΠΈΠ·ΠΌΠ° ΠΈ ΠΏΠΎΠ»ΠΈΡΠΈΠΊΠ΅. ΠΠ°ΠΎ ΡΡΠΎ ΡΠΌΠΎ ΠΈ ΠΎΡΠ΅ΠΊΠΈΠ²Π°Π»ΠΈ, ΠΏΠ°ΠΆΡΠ° ΡΠ΅ Π±ΠΈΠ»Π° ΡΡΠΌΠ΅ΡΠ΅Π½Π° Π½Π΅ ΡΠ°ΠΌΠΎ Π½Π° Π·Π½Π°ΡΠ°ΡΠ½Π΅ Π»ΠΈΡΠ½ΠΎΡΡΠΈ ΠΈ ΠΏΠΎΡΠ°Π²Π΅ Ρ ΠΌΠ΅ΡΡΠ½Π°ΡΠΎΠ΄Π½ΠΈΠΌ ΠΌΡΠ·ΠΈΡΠΊΠΈΠΌ ΡΠΎΠΊΠΎΠ²ΠΈΠΌΠ°, Π²Π΅Ρ ΠΈ Π½Π° ΠΎΠ½Π΅ Ρ ΡΡΠΏΡΠΊΠΎΡ ΠΌΡΠ·ΠΈΡΠΈ.
ΠΡΡΠΎΡΠΈ ΡΠ°Π΄ΠΎΠ²Π° Π½ΠΈΡΡ ΡΠ΅Π±ΠΈ ΠΏΠΎΡΡΠ°Π²ΠΈΠ»ΠΈ ΡΠΈΡ - Π½ΠΈΡΠΈ ΡΡ ΡΠΎ ΠΌΠΎΠ³Π»ΠΈ - Π΄Π° ΠΏΠΎΠ½ΡΠ΄Π΅ ΡΠ²ΡΡΡΠ΅ Π·Π°ΠΊΡΡΡΠΊΠ΅, Π΄Π΅ΡΠΈΠ½ΠΈΡΠΈΡΠ΅, ΠΊΠ»Π°ΡΠΈΡΠΈΠΊΠ°ΡΠΈΡΠ΅. Π£ΠΌΠ΅ΡΡΠΎ ΡΠΎΠ³Π°, ΠΎΠ½ΠΈ ΡΡ Π΄ΠΎΠ½Π΅Π»ΠΈ Π²ΠΈΡΠ΅ΡΠ»ΠΎΡΠ½Π° ΠΈ ΠΈΠ½ΠΎΠ²Π°ΡΠΈΠ²Π½Π° ΡΠ°Π·ΠΌΠ°ΡΡΠ°ΡΠ° ΠΎΠ²Π΅ ΡΠ·Π±ΡΠ΄ΡΠΈΠ²Π΅ ΡΠΌΠ΅ΡΠ½ΠΈΡΠΊΠ΅ Π΅ΠΏΠΎΡ
Π΅ ΠΎΠΊΡΠ΅Π½ΡΡΠ΅ Π±ΡΠ΄ΡΡΠ½ΠΎΡΡΠΈ ΠΈ ΠΏΡΠΎΠ³ΡΠ΅ΡΡ, ΠΈΠ· ΠΏΠ΅ΡΡΠΏΠ΅ΠΊΡΠΈΠ²Π΅ XXI Π²Π΅ΠΊΠ° ΠΊΠΎΡΠΈ ΡΠ΅ ΠΎΡΡΠ°ΠΎ Π±Π΅Π· ΠΌΠ½ΠΎΠ³ΠΈΡ
ΠΈΠ»ΡΠ·ΠΈΡΠ°, Π½Π΅ΠΌΠΈΠ½ΠΎΠ²Π½ΠΎ ΠΎΡΡΠ°Π²ΡΠ°ΡΡΡΠΈ ΡΠΈΡΠΎΠΊ ΠΏΡΠΎΡΡΠΎΡ Π·Π° Π½ΠΎΠ²Π° ΡΡΠΌΠ°ΡΠ΅ΡΠ°.The articles collected in this volume were presented at the conference Rethinking Musical Modernism that took place in Belgrade from 1 1-13 October 2007 and was or ganised by the Institute of Musicology and the Department of Fine Arts and Music of the Serbian Academy of Sciences and Arts. The working language of the conference was English which explains the publication of the contributions in that language (with one justifiable exemption).
As the title of the conference indicates, the main aim of the organisers was to stimulate novel investigation of musical Modernism. The papers were thus focused on discussions of the ideas, characteristics, and meanings of the diverse and often contra dictory tendencies that existed in that period. The thematic scope of the papers was wide: from new approaches to musical Modernism using the categories of nostalgia and appropriation, and novel observations on the relationship between centres and peripheries, to questioning of the ties between Modernism and politics, the problems of terminology, and analysis of important aspects of the modernist achievements on the international and Serbian modernist scene.
The contributors did not - and could not - pursue the aim of reaching firm conclusions, definitions, and classifications. They instead offered rich and complex examinations of this exciting musical epoch turned toward the future and progress, seen from the perspective of the disillusioned twenty-first century, necessarily leaving vast space for new rethinking.ΠΠ±ΠΎΡΠ½ΠΈΠΊ ΡΠ°Π΄ΠΎΠ²Π° ΡΠ° Π½Π°ΡΡΠ½ΠΎΠ³ ΡΠΊΡΠΏΠ° ΠΎΠ΄ΡΠΆΠ°Π½ΠΎΠ³ ΠΎΠ΄ 11. Π΄ΠΎ 13. ΠΎΠΊΡΠΎΠ±ΡΠ° 2007. Π³ΠΎΠ΄ΠΈΠ½
Apps, Agents, and Improvisation: Ensemble Interaction with Touch-Screen Digital Musical Instruments
This thesis concerns the making and performing of music with new
digital musical instruments (DMIs) designed for ensemble
performance. While computer music has advanced to the point where
a huge variety of digital instruments are common in educational,
recreational, and professional music-making, these instruments
rarely seek to enhance the ensemble context in which they are
used. Interaction models that map individual gestures to sound
have been previously studied, but the interactions of ensembles
within these models are not well understood. In this research,
new ensemble-focussed instruments have been designed and deployed
in an ongoing artistic practice. These instruments have also been
evaluated to find out whether, and if so how, they affect the
ensembles and music that is made with them.
Throughout this thesis, six ensemble-focussed DMIs are introduced
for mobile touch-screen computers. A series of improvised
rehearsals and performances leads to the identification of a
vocabulary of continuous performative touch-gestures and a system
for tracking these collaborative performances in real time using
tools from machine learning. The tracking system is posed as an
intelligent agent that can continually analyse the gestural
states of performers, and trigger a response in the performers'
user interfaces at appropriate moments. The hypothesis is that
the agent interaction and UI response can enhance improvised
performances, allowing performers to better explore creative
interactions with each other, produce better music, and have a
more enjoyable experience.
Two formal studies are described where participants rate their
perceptions of improvised performances with a variety of designs
for agent-app interaction. The first, with three expert
performers, informed refinements for a set of apps. The most
successful interface was redesigned and investigated further in a
second study with 16 non-expert participants. In the final
interface, each performer freely improvised with a limited number
of notes; at moments of peak gestural change, the agent presented
users with the opportunity to try different notes. This interface
is shown to produce performances that are longer, as well as
demonstrate improved perceptions of musical structure, group
interaction, enjoyment and overall quality.
Overall, this research examined ensemble DMI performance in
unprecedented scope and detail, with more than 150 interaction
sessions recorded. Informed by the results of lab and field
studies using quantitative and qualitative methods, four
generations of ensemble-focussed interface have been developed
and refined. The results of the most recent studies assure us
that the intelligent agent interaction does enhance improvised
performances
Patient Safety and Quality: An Evidence-Based Handbook for Nurses
Compiles peer-reviewed research and literature reviews on issues regarding patient safety and quality of care, ranging from evidence-based practice, patient-centered care, and nurses' working conditions to critical opportunities and tools for improvement