Boston University Chamber Orchestra, October 21, 2008

This is the concert program of the Boston University Chamber Orchestra performance on Tuesday, October 21, 2008 at 7:30 p.m., at the Boston University Concert Hall, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were Letter from Home, Music for the Theater, Variations on a Shaker Melody, Quiet City, Old American Songs, and Three Latin American Sketches by Aaron Copland. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Boston University Symphony Orchestra, Thursday, March 1, 2001

This is the concert program of the Boston University Symphony Orchestra performance on Thursday, March 1, 2001 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were A Night on Bald Mountain by Modest Mussorgsky, Oration by Frank Bridge, and La Mer by Claude Debussy. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

BitBox!:A case study interface for teaching real-time adaptive music composition for video games

Real-time adaptive music is now well-established as a popular medium, largely through its use in video game soundtracks. Commercial packages, such as fmod, make freely available the underlying technical methods for use in educational contexts, making adaptive music technologies accessible to students. Writing adaptive music, however, presents a significant learning challenge, not least because it requires a different mode of thought, and tutor and learner may have few mutual points of connection in discovering and understanding the musical drivers, relationships and structures in these works. This article discusses the creation of ‘BitBox!’, a gestural music interface designed to deconstruct and explain the component elements of adaptive composition through interactive play. The interface was displayed at the Dare Protoplay games exposition in Dundee in August 2014. The initial proof-of- concept study proved successful, suggesting possible refinements in design and a broader range of applications

Analysing the Creative Process through a Modelling of Tools and Methods for Composition in Hans Tutschku’s Entwurzelt

The analysis of the creative processes involved in electroacoustic music may to a large extent rely on the thorough study of the technological tools used for the realisation of a musical work, both on the composition and on the performance sides. Understanding the behaviour and potential range of aesthetic results of such tools enables the musicologist to approach the studied work much beyond its final form, as presented on tape or as performed on a particular occasion: gaining knowledge on a wider technological context leads to considering the actual artistic decisions in the perspective of the potential outcomes that the composer and performer could face but not necessarily adopt. Hence, analysing an electroacoustic work on the basis of the study of its creative context, technological tools and compositional methods may constitute a useful approach to a better understanding of its related creative processes. However, the implementation of such an approach, mainly based on the hardware or software elements used during the creation of a given work, is not straightforward. First, it implies that the considered technologies are still in use and have not be come irreversibly obsolete. In this matter, new performances of a work are good opportunities for such investigations, as they often provide a technical update and require a deep understanding of the composer’s intentions. The musicologist also needs to have access to the resources, which may not be available without a direct contact with the composer. Assuming these conditions are reached,the musicological and organological studies can encounter another issue, particularly in the digital domain: the sources are not always presented under forms that are directly readable by the analyst, for instance with a specific programming language. Despite all these possible difficulties, many cases of technological tools lean themselves to an in-depth investigation, leading to relevant conclusions on some of the creative processes appearing in the field of electroacoustic music. In the context of a common session of several analytical approaches to a same electroacoustic piece, Hans Tutschku’s Entwurzelt for six singers and electronics (2012), this article focuses on the investigation and modelling of tools and methods of the compositional stage of the realisation of the work. During a performance of Entwurzelt, the electronic materials are simply triggered as events by one of the singers, without further interactivity–thus, the essential part of the research on the electroacoustic realisation aims at exploring the processes used during the compositional stage itself. As the electronics are used as an extension of the live vocal expression by the means of harmonic amplification and complex texturing, the tools for generation and processing of both symbolic representations and audio explored. Since the software tools that constitute the primary sources for our research were not directly designed to be used beyond their creative purposes, this talk presents software modelling implemented by the two authors to demonstrate the technological context in which Tutschku could compose Entwurzelt, emphasizing his creative methods and the decisions he could make upon a wider range of possible materials and processing techniques

Abstraction and registration: conceptual innovations and supply effects in Prussian and British Copyright (1820-50)

It is one of the orthodoxies of modern copyright law that the enjoyment and the exercise of the rights granted “shall not be subject to any formality” (Berne Convention 1886, Berlin revision 1908, Art.4), such as a registration requirement. In this article, we trace the origins of this provision to a conceptual shift that took place during the early 1800s. Specific regulations of the book trade were superseded by the protection of all instantiations (such as performances, translations and adaptations) of abstract authored work. For two seminal copyright acts of the period, the Prussian Act of 1837 and the UK Act of 1842, we show there was considerable concern about the economic implications of this new justificatory paradigm, reflected in a period of experimentation with sophisticated registration requirements. We indicate market responses to these requirements and plea for a reconsideration of “formalities” as redressing justificatory problems of copyright in the digital environment

RoboJam: A Musical Mixture Density Network for Collaborative Touchscreen Interaction

RoboJam is a machine-learning system for generating music that assists users of a touchscreen music app by performing responses to their short improvisations. This system uses a recurrent artificial neural network to generate sequences of touchscreen interactions and absolute timings, rather than high-level musical notes. To accomplish this, RoboJam's network uses a mixture density layer to predict appropriate touch interaction locations in space and time. In this paper, we describe the design and implementation of RoboJam's network and how it has been integrated into a touchscreen music app. A preliminary evaluation analyses the system in terms of training, musical generation and user interaction

Correlated microtiming deviations in jazz and rock music

Musical rhythms performed by humans typically show temporal fluctuations. While they have been characterized in simple rhythmic tasks, it is an open question what is the nature of temporal fluctuations, when several musicians perform music jointly in all its natural complexity. To study such fluctuations in over 100 original jazz and rock/pop recordings played with and without metronome we developed a semi-automated workflow allowing the extraction of cymbal beat onsets with millisecond precision. Analyzing the inter-beat interval (IBI) time series revealed evidence for two long-range correlated processes characterized by power laws in the IBI power spectral densities. One process dominates on short timescales ($t < 8$ beats) and reflects microtiming variability in the generation of single beats. The other dominates on longer timescales and reflects slow tempo variations. Whereas the latter did not show differences between musical genres (jazz vs. rock/pop), the process on short timescales showed higher variability for jazz recordings, indicating that jazz makes stronger use of microtiming fluctuations within a measure than rock/pop. Our results elucidate principles of rhythmic performance and can inspire algorithms for artificial music generation. By studying microtiming fluctuations in original music recordings, we bridge the gap between minimalistic tapping paradigms and expressive rhythmic performances

Art to empower: designing and implementing a contemporary visual culture art education for urban elementary institutions with implications for classroom practice

The following paper offers a comprehensive historiography of the curricular trends and approaches for the teaching of elementary visual arts within the discourse of Art Education. The exploration begins with an overview of the modernist, Discipline Based Art Education curriculum, including its origins and implementation within the U.S., public K-8 school system. In this section I offer an assessment of DBAE???s curricular strengths and weaknesses. Next, the text moves into an examination of post-modern, contemporary curricular approaches to teaching visual arts, more specifically, the visual culture theory. With this, I introduce a discussion about the current reality of arts education within the urban, public school system of Chicago, Illinois. This section offers insight into current art education trends and exposes the discrepancy of resources for visual arts education among Chicago???s elementary institutions. Finally, I offer a sample visual arts curriculum designed to empower students to take responsibility for their learning and success