988 research outputs found

    Technology and Contemporary Classical Music: Methodologies in Practice-Based Research

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    This position paper provides a distillation of the NCRM Innovation Forum, ‘Technology and Contemporary Classical Music: Methodologies in Creative Practice Research’, hosted by Cyborg Soloists in June 2023. It features contributions from a variety of creative practitioner-researchers to debate the current state and future of technologically focused, practice-based research in contemporary classical music. The position paper is purposefully polyphonic and pluralistic. By collating a range of perspectives, experiences and expertise, the paper seeks to provoke and delineate a space for further questioning, inquiry, and response. The paper will be of interest to those working within creative practice research, particularly in relation to music, music technologists and those interested in research methodologies more broadly

    More-than-words: Reconceptualising Two-year-old Children’s Onto-epistemologies Through Improvisation and the Temporal Arts

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    This thesis project takes place at a time of increasing focus upon two-year-old children and the words they speak. On the one hand there is a mounting pressure, driven by the school readiness agenda, to make children talk as early as possible. On the other hand, there is an increased interest in understanding children’s communication in order to create effective pedagogies. More-than-words (MTW) examines an improvised art-education practice that combines heterogenous elements: sound, movement and materials (such as silk, string, light) to create encounters for young children, educators and practitioners from diverse backgrounds. During these encounters, adults adopt a practice of stripping back their words in order to tune into the polyphonic ways that children are becoming-with the world. For this research-creation, two MTW sessions for two-year-old children and their carers took place in a specially created installation. These sessions were filmed on a 360˚ camera, nursery school iPad and on a specially made child-friendly Toddler-cam (Tcam) that rolled around in the installation-event with the children. Through using the frameless technology of 360˚ film, I hoped to make tangible the relation and movement of an emergent and improvised happening and the way in which young children operate fluidly through multiple modes. Travelling with posthuman, Deleuzio-Guattarian and feminist vital material philosophy, I wander and wonder speculatively through practice, memory, and film data as a bag lady, a Haraway-ian writer/artist/researcher-creator who resists the story of the wordless child as lacking and tragic; the story that positions the word as heroic. Instead, through returning to the uncertainty of improvisation, I attempt to tune into the savage, untamed and wild music of young children’s animistic onto-epistemologies

    Sounding the dead in Cambodia: cultivating ethics, generating wellbeing, and living with history through music and sound

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    This dissertation rethinks the ethics of history and trauma in post-genocide Cambodia by examining how Cambodians use a broad repertoire of sounded practices to form relations of mutual care with ancestors, dead teachers, deities, and other predecessors. At its root, the dissertation is the study of an ethical-religious-aesthetic system by which Cambodians recall predecessors’ legacies, care for the dead, and engage ancestors and deities as supportive co-presences. Traditional and popular musics, Buddhist chants and incantations, whispers, and the non-acoustic practice of “speaking in the heart” (niyāy knung citt) are among the primary sounded practices that Cambodians use to engage the dead. Parts One and Two detail those sounded practices and their social implications. I discuss how previous approaches have misinterpreted the nature and capacities of Cambodian music and other ritualized sounds through historicist, colonialist, and secular epistemologies, which cast those sounds as “culture” or “performance” and ignore their capacities as modes of ethics and exchange with the dead. Instead, by rethinking those sounded practices as Cambodian-Buddhist ethics and exchange, I examine how Cambodians fulfill an obligation to care for the ancestors who have supported themselves. I suggest fulfilling that obligation generates personal wellbeing and provides a new model for what living with history can sound like and feel like. Taken together, in Parts One and Two, I detail the non-linear temporalities, types of personhood, ethics, exchange with the dead, and the intergenerational mode of living with history that Cambodians bring into being through music and sound. Part Three zooms further out to discuss how sounded relations with the dead have consequences for national and international politics, which leads to larger critiques of the Cambodian government’s politicization of Khmer Rouge remembrance and international humanitarian efforts that attempt to help Cambodians heal from trauma. Since at least the mid-1990s, a plurality of international activists, scholars, volunteers, and development workers have concluded that Cambodians perpetuate a silence about the Khmer Rouge era that furthers their traumatization. Most observers suggest that Cambodians need to provide public testimony about that violent past in order to heal. This dissertation contests those conclusions, following work in anthropology and trauma studies that problematizes the universalization of the Western psychotherapeutic notion of biomedical trauma and its treatments. I suggest that those calls for a testimonial voice presuppose historicist modes of remembrance and knowledge production that naturalize liberal Western models of personhood, citizenship, justice, wellness, and political agency. To move away from those models, I argue that Cambodian sounded and ritual practices generate what I term “modes of being historical” and “ways of living with history” that are intimate, familial, intergenerational, engage national pasts, and can be a mode of political action. Those “modes of being historical” include but are not limited to telling stories of others’ struggles and deaths. I illustrate how Cambodians have long used a multitude of sounded practices to engage the past, grapple with life’s difficulties, and care for themselves and their ancestors. This dissertation posits that sound studies and ethnomusicology can further the emerging scholarly shifts toward the culturally specific ways people cope with difficult pasts. I propose a new approach to post-violence ethics and history by arguing for the decolonizing possibilities of emphasizing the modes of being historical, ethical relations of mutual care, and ontological entanglements with the dead that Cambodians generate through music and sound

    Gratitude in Healthcare an interdisciplinary inquiry

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    The expression and reception of gratitude is a significant dimension of interpersonal communication in care-giving relationships. Although there is a growing body of evidence that practising gratitude has health and wellbeing benefits for the giver and receiver, gratitude as a social emotion made in interaction has received comparatively little research attention. To address this gap, this thesis draws on a portfolio of qualitative methods to explore the ways in which gratitude is constituted in care provision in personal, professional, and public discourse. This research is informed by a discursive psychology approach in which gratitude is analysed, not as a morally virtuous character trait, but as a purposeful, performative social action that is mutually co-constructed in interaction.I investigate gratitude through studies that approach it on a meta, meso, macro, and micro level. Key intellectual traditions that underpin research literature on gratitude in healthcare are explored through a metanarrative review. Six underlying metanarratives were identified: social capital; gifts; care ethics; benefits of gratitude; staff wellbeing; and gratitude as an indicator of quality of care. At the meso (institutional) level, a narrative analysis of an archive of letters between patients treated for tuberculosis and hospital almoners positions gratitude as participating in a Maussian gift-exchange ritual in which communal ties are created and consolidated.At the macro (societal) level, a discursive analysis of tweets of gratitude to the National Health Service at the outset of the Covid-19 pandemic shows that attitudes to gratitude were dynamic in response to events, with growing unease about deflecting attention from risk reduction for those working in the health and social care sectors. A follow-up analysis of the clap-for-carers movement implicates gratitude in embodied, symbolic, and imagined performances in debates about care justice. At the micro (interpersonal) level, an analysis of gratitude encounters broadcast in the BBC documentary series, Hospital, uses pragmatics and conversation analysis to argue that gratitude is an emotion made in talk, with the uptake of gratitude opportunities influencing the course of conversational sequencing. The findings challenge the oftenmade distinction between task-oriented and relational conversation in healthcare.Moral economics are paradigmatic in the philosophical conceptualisation of gratitude. My research shows that, although balance-sheet reciprocity characterised the institutional culture of the voluntary hospital, it is hardly ever a feature ofinterpersonal gratitude encounters. Instead, gratitude is accomplished as shared moments of humanity through negotiated encounters infused with affect. Gratitude should never be instrumentalised as compensating for unsafe, inadequatelyrenumerated work. Neither should its potential to enhance healthcare encounters be underestimated. Attention to gratitude can participate in culture change by affirming modes of acting, emoting, relating, expressing, and connecting that intersect with care justice.This thesis speaks to gratitude as a culturally salient indicator of what people express as worthy of appreciation. It calls for these expressions to be more closely attended to, not only as useful feedback that can inform change, but also because gratitude is a resource on which we can draw to enhance and enrich healthcare as a communal, collaborative, cooperative endeavour

    Distributed Networks of Listening and Sounding: 20 Years of Telematic Musicking

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    This paper traces a twenty-year arc of my performance and compositional practice in the medium of telematic music, focusing on a distinct approach to fostering interdependence and emergence through the integration of listening strategies, electroacoustic improvisation, pre-composed structures, blended real/virtual acoustics, networked mutual-influence, shared signal transformations, gesture-concepts and machine agencies. Communities of collaboration and exchange over this time period are discussed, which span both pre- and post-pandemic approaches to the medium that range from metaphors of immersion and dispersion to diffraction

    Exploring Compassion-Driven Interaction: Bridging Buddhist Theory and Contemplative Practice Through Arts-led Research-through-Design

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    Compassion cultivation focuses on developing a genuine concern for others and a willingness to alleviate their suffering. As understandings of the benefits of compassion cultivation on wellbeing have evolved, an increasing interest in designing technologies for this context have followed. However, while scientific research focuses on measuring and evaluating compassion, designerly understandings of compassion informing human-computer interaction have been less explored. We are currently confronted with huge global challenges and our entanglement with technology brings paradoxes and existential tensions related to wellbeing and human flourishing. Viewing technologies as mediators of values and morality, human-computer interaction has a stake in shaping our possible futures. A shift in the field to welcoming a plurality of worldviews, invites opportunities to authentically integrate knowledge from ancient wisdom traditions into how and why we design. This research aims to advance understandings of compassion cultivation for designing technologies by developing novel approaches to research inspired by Buddhist philosophy and practice. This thesis draws upon an arts-led research-through-design approach and spiritual practice. The findings and insights from the studies contribute primarily to the areas of soma design, first-person research and design for wellbeing. The main contributions to knowledge are design guidelines emerging from three case studies: Understanding Tonglen, Wish Happiness, and Inner Suchness comprising one autoethnography and two concept-driven design artefacts for public exhibition. While in the act of researching, the contemplative practitioner-researcher, a research persona, emerged to support authentic engagement and embodied understandings of the dynamic unfolding processes of the practice. A contemplative framework to train self-observation and the concept of designerly gaze were developed to help investigate the phenomenon

    Interloops in audiovisual works

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    This portfolio presents eight original audiovisual works, plus six experimental studies that fed into their creation, alongside a written commentary that articulates the research that formed and manifests in the works. These artworks include elements of various forms of sound and visual art practices, including film, sculpture, music and sound, as well as incorporating processes of performance, installation and recordings. Aiming to achieve a balance and integration of the audio and the visual, they explore various possible forms of audiovisual coherences. Overall, through creative practice research and its critical discussion, the portfolio examines interrelationships between sound and image. It configures these as a process of audiovisual looping, here termed an ‘interloop’, in which each element continually affects the other, extending out towards the audience and the space of reception, and feeding back into the work itself. A form of conversation between the audio and visual elements is therefore established: an on- going dialogue aimed at achieving a sense of synchronicity in the presentation of audiovisual works. The works in the portfolio are presented as fixed medium video, live performance documentations, web and software applications, sound sculpture, and scores. The portfolio submission and commentary are also available online (hidden link) at https://sites.google.com/view/lq-phd

    Embodying dynamical systems in music performance

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    peer reviewedThe present contribution introduces a theoretical framework to explore music performance from a perspective inspired by the conceptual resources of two orientations known as Dynamical System Theory and Embodied Cognitive Science. We discursively elaborate on how music performance might be conceived of as a complex, multi-component system that deals with evolving patterns of stability and instability, and examine how a combination of cognitive, motor, and affective skills stands at the heart of the performer’s capacity to optimize their performance. In doing so, we consider how musicians often generate different interpretative “hypotheses” with little or no pre-planning and use their body to selectively navigate the range of possibilities such hypotheses entail. In conclusion, the relevance of this perspective is discussed in relation to current research in music performance and music education to outline continuities and differences between the two domains

    Imagining & Sensing: Understanding and Extending the Vocalist-Voice Relationship Through Biosignal Feedback

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    The voice is body and instrument. Third-person interpretation of the voice by listeners, vocal teachers, and digital agents is centred largely around audio feedback. For a vocalist, physical feedback from within the body provides an additional interaction. The vocalist’s understanding of their multi-sensory experiences is through tacit knowledge of the body. This knowledge is difficult to articulate, yet awareness and control of the body are innate. In the ever-increasing emergence of technology which quantifies or interprets physiological processes, we must remain conscious also of embodiment and human perception of these processes. Focusing on the vocalist-voice relationship, this thesis expands knowledge of human interaction and how technology influences our perception of our bodies. To unite these different perspectives in the vocal context, I draw on mixed methods from cog- nitive science, psychology, music information retrieval, and interactive system design. Objective methods such as vocal audio analysis provide a third-person observation. Subjective practices such as micro-phenomenology capture the experiential, first-person perspectives of the vocalists them- selves. Quantitative-qualitative blend provides details not only on novel interaction, but also an understanding of how technology influences existing understanding of the body. I worked with vocalists to understand how they use their voice through abstract representations, use mental imagery to adapt to altered auditory feedback, and teach fundamental practice to others. Vocalists use multi-modal imagery, for instance understanding physical sensations through auditory sensations. The understanding of the voice exists in a pre-linguistic representation which draws on embodied knowledge and lived experience from outside contexts. I developed a novel vocal interaction method which uses measurement of laryngeal muscular activations through surface electromyography. Biofeedback was presented to vocalists through soni- fication. Acting as an indicator of vocal activity for both conscious and unconscious gestures, this feedback allowed vocalists to explore their movement through sound. This formed new perceptions but also questioned existing understanding of the body. The thesis also uncovers ways in which vocalists are in control and controlled by, work with and against their bodies, and feel as a single entity at times and totally separate entities at others. I conclude this thesis by demonstrating a nuanced account of human interaction and perception of the body through vocal practice, as an example of how technological intervention enables exploration and influence over embodied understanding. This further highlights the need for understanding of the human experience in embodied interaction, rather than solely on digital interpretation, when introducing technology into these relationships
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