Straddling the intersection

Music technology straddles the intersection between art and science and presents those who choose to work within its sphere with many practical challenges as well as creative possibilities. The paper focuses on four main areas: secondary education, higher education, practice and research and finally collaboration. The paper emphasises the importance of collaboration in tackling the challenges of interdisciplinarity and in influencing future technological developments

Plug-in to fear: game biosensors and negative physiological responses to music

The games industry is beginning to embark on an ambitious journey into the world of biometric gaming in search of more exciting and immersive gaming experiences. Whether or not biometric game technologies hold the key to unlock the “ultimate gaming experience” hinges not only on technological advancements alone but also on the game industry’s understanding of physiological responses to stimuli of different kinds, and its ability to interpret physiological data in terms of indicative meaning. With reference to horror genre games and music in particular, this article reviews some of the scientific literature relating to specific physiological responses induced by “fearful” or “unpleasant” musical stimuli, and considers some of the challenges facing the games industry in its quest for the ultimate “plugged-in” experience

The Role of Technology in Music Education: a Survey of Computer Usage in Teaching Music in Colleges of Education in The Volta Region, Ghana

The study sought to find out the role of computer technology in music education in Colleges of Education in the Volta Region of Ghana. It aimed at surveying the use of computer technology for teaching music and exploring the instructional prospects for computer technology usage in music in Colleges of Education. The study employed Rogers’ Diffusion Innovation theory and descriptive survey research method. Data was collected from the respondents using questionnaire, interview, and observation. The study revealed that even though about 90% of the music tutors have good academic qualification and over five years teaching experience, lack of competence in handling computer technology in teaching music among some music tutors and incoherent ICT initiatives hindered proper application of computer technology in the field of music education. It is however envisaged that increasing access and coherent computer technology initiatives will be paramount for the teaching of music in the Colleges of Education

Functionality and history of electronics in regards to the performance practice of the following works: Temazcal (1984), Javier Álvarez, and Memory Palace (2012), Christopher Cerrone

Master's Project (M.Mu.) University of Alaska Fairbanks, 2016The Electroacoustic pieces; Temazcal (1984), by Javier Alvarez (b.1956), and Memory Palace (2012) by Christopher Cerrone (b.1984), each employ different types of electronic technologies in their realization through performance. This paper will discuss the origin and history of the technology applied respectively in the works. I will examine the role of percussion within the works, specifically in regards to learning and problem solving through technological challenges in order to effectively perform the compositions. By looking at Temazcal and Memory Palace through the context of their historical significance as electroacoustic works, the inherent functionality of the technology employed in each, and the resultant performance practices that have subsequently developed, a greater musical appreciation and understanding of electroacoustic works, in general, is possible

Editorial: Perceptual issues surrounding the electroacoustic listening experience

The file attached to this record is the author's final peer reviewed version. The Publisher's final version can be found by following the DOI link

BECOMING A GLOBALLY COMPETITIVE PLAYER: THE CASE OF THE MUSIC INDUSTRY IN JAMAICA

This paper uses the NSI approach to examine the prospects for industrial development in Jamaica, a small middle-income developing country. It argues that the present state of the Jamaican NSI is not adequately developed to provide the necessary support to ensure that one of its key emerging industries – the music sector – becomes competitive on global markets. It suggests various policy options aimed at industrial upgrading and better integration with those markets. The type of applied research presented here is highly original and speaks to a wider audience, as it represents a novel attempt to operationalize the concept of NSI in a developing country context, with particular reference to the music and entertainment sector, which is not traditionally treated in the NSI context. This sector, however, has been selected as one of the leading emerging sectors for the Jamaican economy identified in its national industrial policy.

Post-Fukushima discourses on nuclear power in Japan

The critical damage to the Fukushima nuclear plant, triggered by the unprecedented earthquake and tsunami of 11 March, caused radioactive contamination to a vast area and large-scale evacuation. Both its short- and long-term consequences are still relatively unclear. But together with nuclear debris, the explosions at Fukushima blew up a few myths: the myth of cleanness, that of safety, and the myth of cheapness, which decades of propaganda had successfully created and maintained. I offer a few observations on the nature of the response and the discursive positioning of various social actors in the weeks and months following the disaster, from the pro-nuclear camp of government and electricity companies to the anti-nuclear grass-root movements, intellectuals and artists, and the fora of the official news media and social media. On the one hand, I note how the (mis)handling of information in the wake of the Fukushima disaster through official or institutional channels shook the public consciousness and reignited big political issues such as the public 19s right to information, the question of authority over specialized (scientific) information, issues of accountability etc. (i.e. ultimately, issues of democracy); and on the other I ask whether new forms of communication such as the internet and the social media actually provide alternative instruments for challenging or even subverting the existing relations of power

Complexity as Process: Complexity Inspired Approaches to Composition

This article examines the use of Complexity Theory as an inspiration for the creation of new musical works, and highlights problems and possible solutions associated with its application as a compositional tool. In particular it explores how the philosophy behind Complexity Theory affects notions of process-based composition, indeterminacy in music and the performer/listener/environment relationship, culminating in providing a basis for the understanding of music creation as an active process within a context. The author presents one of his own sound installations, Cross-Pollination, as an example of a composition inspired and best understood from the philosophical position as described in Complexity Theory