Social decision-making driven by artistic explore-exploit tension

We studied social decision-making in the rule-based improvisational dance $There$ $Might$ $Be$ $Others$, where dancers make in-the-moment compositional choices. Rehearsals provided a natural test-bed with communication restricted to non-verbal cues. We observed a key artistic explore-exploit tension in which the dancers switched between exploitation of existing artistic opportunities and riskier exploration of new ones. We investigated how the rules influenced the dynamics using rehearsals together with a model generalized from evolutionary dynamics. We tuned the rules to heighten the tension and modeled nonlinear fitness and feedback dynamics for mutation rate to capture the observed temporal phasing of the dancers' exploration-versus-exploitation. Using bifurcation analysis, we identified key controls of the tension and showed how they could shape the decision-making dynamics of the model much like turning a "dial" in the instructions to the dancers could shape the dance. The investigation became an integral part of the development of the dance

Collaborative learning among high school students in a chamber music setting

This study is a qualitative case study of collaborative learning in two chamber music ensembles in a public high school orchestra program. Collaborative learning, as applied to chamber music education, is a setting in which musicians engage in a common musical task and are accountable to the other members of the group. Using social constructivism as a conceptual framework, I sought to explore student collaboration within chamber music ensembles through social interaction and the development of creative rehearsal strategies. Attention was directed to the way in which students identified problems and developed rehearsal strategies to solve them. The following research questions guided this study: (1) How do students in the selected chamber music ensembles engage in collaborative learning? (2) What are the learning structures that enable collaboration within each group? (3) How do the students interact with each other in the selected chamber music ensembles? (4) What are the social structures that enable collaborative learning within each group? Using Mediated Discourse Analysis (MDA) I analyzed and interpreted the collaborative learning that occurred in the musical development of these high school chamber musicians. Data collection occurred during one semester of instruction (five months) and included individual interviews, focus group interviews, and observations, which included field-notes and digital video of rehearsals. The research methodology used in this study comprised the “interpretive–descriptive” method and focused on turning the participants’ words and actions into the development of potential themes and implications. My approach used a three-step process to analyze data in which concepts were coded relating to the phenomenon of collaborative and mutual learning as well as sociocultural mediation. In this study, I examined the collaborative learning process among the student participants. My study was further informed by the participants’ perceptions of their own collaborative learning processes. Themes found were learning structures that allowed for collaboration in interpretation and problem solving, and social structures that enabled peer pressure, socialization and a work ethic. Results indicated that when given the opportunity to work in small groups toward pre-determined musical goals, the participants in this study: (1) worked with internal group leaders to identify musical problems and develop creative rehearsal strategies to solve them, (2) used positive and negative peer pressure that created an organic social structure which contributed to team efficacy, and (3) showed a willingness to work harder toward group goals when empowered with the responsibility for their own learning. The results of this study suggest that a collaborative learning environment that includes small groups of heterogeneously mixed students can advance student learning in multiple ways. The traditional teacher centered learning environment may not be the most effective learning environment because it may limit student development in one or more capacities, including decision making and social development. Recognition of the active, purposeful character of human development and respect for the shared understanding (socially distributed knowledge) that enables peers to teach one another ought to shape the music educator’s role and function; to serve as a musical guide, facilitator, and source of social support. Based on the results of this study, it appears that it may be possible to adapt collaborative learning to diverse instructional situations regardless of the heterogeneous makeup of the learning group

Learning, Arts, and the Brain: The Dana Consortium Report on Arts and Cognition

Reports findings from multiple neuroscientific studies on the impact of arts training on the enhancement of other cognitive capacities, such as reading acquisition, sequence learning, geometrical reasoning, and memory

Musical instrument mapping design with Echo State Networks

Echo State Networks (ESNs), a form of recurrent neural network developed in the field of Reservoir Computing, show significant potential for use as a tool in the design of mappings for digital musical instruments. They have, however, seldom been used in this area, so this paper explores their possible applications. This project contributes a new open source library, which was developed to allow ESNs to run in the Pure Data dataflow environment. Several use cases were explored, focusing on addressing current issues in mapping research. ESNs were found to work successfully in scenarios of pattern classification, multiparametric control, explorative mapping and the design of nonlinearities and uncontrol. 'Un-trained' behaviours are proposed, as augmentations to the conventional reservoir system that allow the player to introduce potentially interesting non-linearities and uncontrol into the reservoir. Interactive evolution style controls are proposed as strategies to help design these behaviours, which are otherwise dependent on arbitrary values and coarse global controls. A study on sound classification showed that ESNs could reliably differentiate between two drum sounds, and also generalise to other similar input. Following evaluation of the use cases, heuristics are proposed to aid the use of ESNs in computer music scenarios

Distributing Leadership

{Excerpt} The prevailing view of leadership is that it is concentrated or focused. In organizations, this makes it an input to business processes and performance—dependent on the attributes, behaviors, experience, knowledge, skills, and potential of the individuals chosen to impact these. The theory of distributed leadership thinks it best considered as an outcome. Leadership is defined by what one does, not who one is. Leadership at all levels matters and must be drawn from, not just be added to, individuals and groups in organizations

Modern Conducting: An Exhibition of Traditional and Commercial Conducting

From the 20th century onward, there has been many notable musical and technological developments. These developments have led to the formation of new musical genres and commercial ensembles. The new genres and commercial ensembles have pertinent implications for modern conductors. In addition to traditional forms such as instrumental, choral, and mixed ensembles, modern conductors must be aware of the unique characteristics of the new commercial ensembles. These new ensembles include the film scoring stage, the jazz ensemble, and the worship ensemble. In addition to utilizing the fundamental concepts of traditional conducting, modern conductors must also attain a working knowledge of the unique nature of each commercial ensemble. This study investigates the fundamentals of conducting and highlights the distinctive techniques and skill sets that modern conductors must employ to effectively direct traditional and commercial ensembles. In particular, the ensemble characteristics, performance practices, accompanying technological necessities, and recommended conducting techniques are discussed in detail for the new commercial ensemble types