Paradoxes of interactivity: perspectives for media theory, human-computer interaction, and artistic investigations

Current findings from anthropology, genetics, prehistory, cognitive and neuroscience indicate that human nature is grounded in a co-evolution of tool use, symbolic communication, social interaction and cultural transmission. Digital information technology has recently entered as a new tool in this co-evolution, and will probably have the strongest impact on shaping the human mind in the near future. A common effort from the humanities, the sciences, art and technology is necessary to understand this ongoing co- evolutionary process. Interactivity is a key for understanding the new relationships formed by humans with social robots as well as interactive environments and wearables underlying this process. Of special importance for understanding interactivity are human-computer and human-robot interaction, as well as media theory and New Media Art. "Paradoxes of Interactivity" brings together reflections on "interactivity" from different theoretical perspectives, the interplay of science and art, and recent technological developments for artistic applications, especially in the realm of sound

Paradoxes of Interactivity

Current findings from anthropology, genetics, prehistory, cognitive and neuroscience indicate that human nature is grounded in a co-evolution of tool use, symbolic communication, social interaction and cultural transmission. Digital information technology has recently entered as a new tool in this co-evolution, and will probably have the strongest impact on shaping the human mind in the near future. A common effort from the humanities, the sciences, art and technology is necessary to understand this ongoing co- evolutionary process. Interactivity is a key for understanding the new relationships formed by humans with social robots as well as interactive environments and wearables underlying this process. Of special importance for understanding interactivity are human-computer and human-robot interaction, as well as media theory and New Media Art. »Paradoxes of Interactivity« brings together reflections on »interactivity« from different theoretical perspectives, the interplay of science and art, and recent technological developments for artistic applications, especially in the realm of sound

Musiktheorie als interdisziplinäres Fach: 8. Kongress der Gesellschaft für Musiktheorie Graz 2008

Im Oktober 2008 fand an der Universität für Musik und darstellende Kunst Graz (KUG) der 8. Kongress der Gesellschaft für Musiktheorie (GMTH) zum Thema »Musiktheorie als interdisziplinäres Fach« statt. Die hier vorgelegten gesammelten Beiträge akzentuieren Musiktheorie als multiperspektivische wissenschaftliche Disziplin in den Spannungsfeldern Theorie/Praxis, Kunst/Wissenschaft und Historik/Systematik. Die sechs Kapitel ergründen dabei die Grenzbereiche zur Musikgeschichte, Musikästhetik, zur Praxis musikalischer Interpretation, zur kompositorischen Praxis im 20. und 21. Jahrhundert, zur Ethnomusikologie sowie zur Systematischen Musikwissenschaft. Insgesamt 45 Aufsätze, davon 28 in deutscher, 17 in englischer Sprache, sowie die Dokumentation einer Podiumsdiskussion zeichnen in ihrer Gesamtheit einen höchst lebendigen und gegenwartsbezogenen Diskurs, der eine einzigartige Standortbestimmung des Fachs Musiktheorie bietet.The 8th congress of the Gesellschaft für Musiktheorie (GMTH) took place in October 2008 at the University for Music and Dramatic Arts Graz (KUG) on the topic »Music Theory and Interdisciplinarity«. The collected contributions characterize music theory as a multi-faceted scholarly discipline at the intersection of theory/practice, art/science and history/system. The six chapters explore commonalties with music history, music aesthetics, musical performance, compositional practice in twentieth- and twenty-first-century music, ethnomusicology and systematic musicology. A total of 45 essays (28 in German, 17 in English) and the documentation of a panel discussion form a vital discourse informed by contemporaneous issues of research in a broad number of fields, providing a unique overview of music theory today. A comprehensive English summary appears at the beginning of all contributions

Music and the Child

By Natalie Sarrazin, associate professor at The College at Brockport Children are inherently musical. They respond to music and learn through music. Music expresses children’s identity and heritage, teaches them to belong to a culture, and develops their cognitive well-being and inner self worth. As professional instructors, childcare workers, or students looking forward to a career working with children, we should continuously search for ways to tap into children’s natural reservoir of enthusiasm for singing, moving and experimenting with instruments. But how, you might ask? What music is appropriate for the children I’m working with? How can music help inspire a well-rounded child? How do I reach and teach children musically? Most importantly perhaps, how can I incorporate music into a curriculum that marginalizes the arts? This book explores a holistic, artistic, and integrated approach to understanding the developmental connections between music and children. This book guides professionals to work through music, harnessing the processes that underlie music learning, and outlining developmentally appropriate methods to understand the role of music in children’s lives through play, games, creativity, and movement. Additionally, the book explores ways of applying music-making to benefit the whole child, i.e., socially, emotionally, physically, cognitively, and linguistically.https://digitalcommons.brockport.edu/bookshelf/1428/thumbnail.jp

Music and the Child

Children are inherently musical. They respond to music and learn through music. Music expresses children’s identity and heritage, teaches them to belong to a culture, and develops their cognitive well-being and inner self worth. As professional instructors, childcare workers, or students looking forward to a career working with children, we should continuously search for ways to tap into children’s natural reservoir of enthusiasm for singing, moving and experimenting with instruments. But how, you might ask? What music is appropriate for the children I’m working with? How can music help inspire a well-rounded child? How do I reach and teach children musically? Most importantly perhaps, how can I incorporate music into a curriculum that marginalizes the arts? This book explores a holistic, artistic, and integrated approach to understanding the developmental connections between music and children. This book guides professionals to work through music, harnessing the processes that underlie music learning, and outlining developmentally appropriate methods to understand the role of music in children’s lives through play, games, creativity, and movement. Additionally, the book explores ways of applying music-making to benefit the whole child, i.e., socially, emotionally, physically, cognitively, and linguistically.https://knightscholar.geneseo.edu/oer-ost/1005/thumbnail.jp

Pursuing Taiwanese-ness: the contemporary music practices of Taitung indigenous people

This research is an ethnography exploring the contemporary music practices of the indigenous people of Taitung, a southeastern county in Taiwan. Indigenous people make up a large proportion of the population of Taitung, and their music has in recent years been used in international and local events to potray a unique Taiwanese identity. I discuss how indigenous and other Taiwanese have collaborated to create this identity - the Taiwanese-ness - and how they have done so with tangled webs of concerns for authenticity, hybridisation and Otherness. I examine two opposite approaches in heredity and maintenance of the tradition: first, sticking to locality, and therefore passing down the tradition in a functional way; second, endorsing and appropriating transnational pop practices in order to garner commercial success. I argue that living experience - the familiarity to a musical culture which Mantle Hood (1982) considered the way that enabled ethnic groups to understand and evaluate their own musical traditions - is essential and irreplaceable. Hence, affiliation to a homeland, as depicted through notions of mountain and sea, becomes a key element in the self-identity of musicians as 'indigenous' (yuanzhumin in Mandarin, meaning 'original inhabitants'), and that the homeland, as the place of ancestors, allows indigenous groups to safeguard their traditions. However, indigenous Taiwanese are comfortable with and uphold a shared culture that was brought to the island by Han migrants, and this is evident in the influences of trans-cultural commercial and global Mandopop. Musicians tend to apply elements of their traditions such as indigenous languages, pentatonicism, ancient songs, specific rhythms and the incorporation of non-lexical vocables, wherever they can, using a bricolage approach. At the same time, musicians enrich the music culture, keeping tradition alive by adding to it in reciprocal ways elements from the outside, but also introducing the po­tential for cultural 'grey-out' as elements of traditional music are altered. Keywords: Taitung, indigenous people, music practices, mountain and sea, Taiwanese-ness

Artech 2008: proceedings of the 4th International Conference on Digital Arts

ARTECH 2008 is the fourth international conference held in Portugal and Galicia on the topic of Digital Arts. It aims to promote contacts between Iberian and International contributors concerned with the conception, production and dissemination of Digital and Electronic Art. ARTECH brings the scientific, technological and artistic community together, promoting the interest in the digital culture and its intersection with art and technology as an important research field, a common space for discussion, an exchange of experiences, a forum for emerging digital artists and a way of understanding and appreciating new forms of cultural expression. Hosted by the Portuguese Catholic University’s School of Arts (UCP-EA) at the City of Porto, ARTCH 2008 falls in alignment with the main commitment of the Research Center for Science and Technology of the Arts (CITAR) to promote knowledge in the field of the Arts trough research and development within UCP-AE and together with the local and international community. The main areas proposed for the conference were related with sound, image, video, music, multimedia and other new media related topics, in the context of emerging practice of artistic creation. Although non exclusive, the main topics of the conference are usually: Art and Science; Audio-Visual and Multimedia Design; Creativity Theory; Electronic Music; Generative and Algorithmic Art; Interactive Systems for Artistic Applications; Media Art history; Mobile Multimedia; Net Art and Digital Culture; New Experiences with New Media and New Applications; Tangible and Gesture Interfaces; Technology in Art Education; Virtual Reality and Augmented Reality. The contribution from the international community was extremely gratifying, resulting in the submission of 79 original works (Long Papers, Short Papers and installation proposals) from 22 Countries. Our Scientific Committee reviewed these submissions thoroughly resulting in a 73% acceptance ratio of a diverse and promising body of work presented in this book of proceedings. This compilation of articles provides an overview of the state of the art as well as a glimpse of new tendencies in the field of Digital Arts, with special emphasis in the topics: Sound and Music Computing; Technology Mediated Dance; Collaborative Art Performance; Digital Narratives; Media Art and Creativity Theory; Interactive Art; Audiovisual and Multimedia Design.info:eu-repo/semantics/publishedVersio

The Music Sound

A guide for music: compositions, events, forms, genres, groups, history, industry, instruments, language, live music, musicians, songs, musicology, techniques, terminology , theory, music video. Music is a human activity which involves structured and audible sounds, which is used for artistic or aesthetic, entertainment, or ceremonial purposes. The traditional or classical European aspects of music often listed are those elements given primacy in European-influenced classical music: melody, harmony, rhythm, tone color/timbre, and form. A more comprehensive list is given by stating the aspects of sound: pitch, timbre, loudness, and duration. Common terms used to discuss particular pieces include melody, which is a succession of notes heard as some sort of unit; chord, which is a simultaneity of notes heard as some sort of unit; chord progression, which is a succession of chords (simultaneity succession); harmony, which is the relationship between two or more pitches; counterpoint, which is the simultaneity and organization of different melodies; and rhythm, which is the organization of the durational aspects of music

Undergraduate and graduate catalog 2022-2023.

The PDF for the 2022-2023 undergraduate and graduate catalog for Texas Tech University is 476 pages long