19 research outputs found

    Theoretical and applied issues on the impact of information on musical creativity: an information seeking behaviour perspective.

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    This century is an era of information and knowledge intensification. Novel information systems and services are developing through modern online information technologies. The rapid changes in the online information environment have greatly affected the way in which individuals search for music information and engage with musical creativity, within different music domains and for different purposes which involve composition, performance and improvisation, analysis and listening. The aim of this book chapter is to investigate the theoretical and practical issues relating to the impact of music information on musical creativity from an information seeking behavior perspective. Musical creativity is perceived as an intentional process which acts as a motivator for information seeking, leading to the utilization of different information resources and to the development of specific information seeking preferences. The chapter highlights the implications for research in this area and presents a research agenda for the interrelation between music information seeking and musical creativity

    Is FRBR a Domain? Domain Analysis Applied to the Literature of The FRBR Family of Conceptual Models

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    Domain analysis helps visualize the semantic intellectual content of a coherent group, or domain. A domain is a group with an ontological base, an underlying teleology, common hypotheses and epistemology, and social semantics. FRBR has spawned a family of conceptual models, and much writing. A recent second anthology about the FRBR models raises the question of whether a coherent domain has formed around the FRBR family. Domain analysis is used here to visualize the semantic content of the FRBR family domain, and to compare its two main component groups, scholar authors and practitioner authors. Results show a common teleology with some subtle differences surrounding implementation of the FRBR family of models

    Comprehensive Musicianship through Performance: A Review of Related Literature with CMP Based Unit and Lesson Plans for Middle School Band

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    The concept of comprehensive musicianship has been discussed since the mid-sixties referring to the interdisciplinary study of music. Many directors focus solely on teaching performing skills such as rhythm and musical notation, limiting the student’s exposure to a well-rounded musical teaching experience. Comprehensive musicianship has shown an increase in student’s musical knowledge in history and enhanced musical theory skills, aural skills, performance skills and improvisation. Although there is significant research on high school bands and their implementation of comprehensive musicianship, there is limited research pertaining to the Comprehensive Musicianship through Performance (CMP) and the middle school band. This qualitative study will aim to define and understand the musical strategy of CMP and its methodology concerning to middle school bands utilizing data-driven best practices, unit planning, and lesson planning through bibliographic research within the discipline. Following the review of related literature, a series of Comprehensive Musicianship through Performance lesson plans and unit plans will be developed exhibiting CMP learning techniques within the middle school band ensemble. This study presents ideas based on CMP concepts used in music education: Analysis, Outcomes, Strategies, Assessment, and Music Selection. To structure the bibliographic research findings within the parameters of the performing ensemble, this study begins with an overview of the CMP concepts. The conclusion of this study will provide strategies and sample lessons that illustrate current research in data-driven best practices. The study presents examples of student enrichment exercises with the application of CMP formatted lesson and unit plans within the middle and secondary performing ensemble

    The Relationship Between Rehearsal Structure and Contest Ratings for High School Bands

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    The purpose of this study was to determine if the rating received by the band at a state music contest can be predicted by examining the amount of rehearsal time high school band directors allocate to various rehearsal components. Secondly, the study sought to determine if the inclusion of specific warm-up activities can predict a band's contest rating. Lastly, the level of importance band directors place upon certain warm-up activities was compared to the frequency with which they include those warm-ups in regular rehearsals. For this study 47 high school band directors in Kansas completed the Rehearsal Structure Questionnaire (RSQ) via an internet based survey program. Survey responses were compared to the respondents' 2011 Kansas State High School Activities Association State Large Group Music Festival ratings. Stepwise multiple regression analysis identified three models that contributed to the variance in contest ratings. Years of experience and the inclusion of breathing exercises predicted higher contest ratings, while the number of courses taught and amount of time spent on non-musical tasks predicted lower contest ratings. Demographic attributes of the participant sample do not match the general population of band directors in Kansas. This combined with the relatively low sample size makes results difficult to generalize to all high school band settings. The findings, however, do show that rehearsal structure and choice of rehearsal activities do play a small role in ratings at music festivals. Further investigation into the effectiveness of rehearsal structure and various warm-up activities is warranted

    Music information seeking behaviour as motivator for musical creativity: conceptual analysis and literature review.

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    Purpose - The purpose of this paper is to investigate the connection between musicians' information seeking behaviour and the creative process in music, providing a framework for understanding the role of information needs satisfaction in musical creativity. A number of studies in information science literature have been carried out attempting to model cognitive, affective, behavioural and contextual factors associated with music information seeking behaviour. However, only few studies have addressed the relationship between information seeking behaviour and musical creative activities such as composition, performance and improvisation, listening and analysis. Design/methodology/approach - The focus of this paper is to provide a framework for the study of information seeking behaviour for the purposes of satisfying musical creativity information needs, combining the theoretical basis of an established model of information behaviour developed by Wilson and the theoretical perspectives of a music creative thinking model proposed by Webster. The key features of the two models are synthesized in a unified model of information seeking behaviour for musical creativity and enriched with research findings identified in the literature of both musical information seeking and musical creativity. Findings - The proposed conceptual framework offers an integrated interpretation of the combinations of information needs, information resources and environmental/personal barriers, which enable musical creativity. In the authors' approach 'musical creativity' is treated as a musician's aim or ambition or drive for expression and is influenced by the way musicians seek information for that purpose. Therefore, musical creativity is an intentional behaviour which acts as motivator for information seeking and is affected by the available information and the musician's information seeking profile. The current study include three important findings: first, the design and development of music library and information services for musical creativity; second, the development of music information literacy skills for creativity; and third, the information seeking behavioural perspective for universal musical creativity, and the implications for cultural musical heritage diffusion around the world. Originality/value - An integrated information seeking behaviour model which includes musical creativity is developed through the synthesis of two already existing approaches, that of Wilson for information seeking behaviour and that of Webster for creative thinking in music. The present conceptual study presents a three stage pattern or process for modelling information seeking for musical creativity: the process initiates with the intention-motivation for creativity, then proceeds to information seeking behaviour and then concludes with the musical creativity outcomes. This is the first study that seeks to understand the relationships between creativity and information seeking behaviour

    Modelling music: a theoretical approach to the classification of notated Western art music

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    The classification of notated Western art music is a perennial issue. This thesis analyses and models the knowledge organization of notated Western art music in order to elucidate a theoretical understanding of these classification issues and to offer new ways of viewing music classification in the future. It also offers a domain-based study of music classification, by comparing LIS and music domain classifications of music phenomena throughout the thesis, which culminates in a new model for delineating types of relationships between domain and LIS classifications. Furthermore, in the process of analysing music classification, the thesis originates a number of novel classification analysis methodologies and innovative classification structures which contribute to the general development of knowledge organization. These include the multiplane approach, reception-infused analysis, webs of Wirkungs (connections) between classification schemes, stress-testing, simultaneous systems of classification and dynamic relationships between facets. After unpicking the major facets of music, subsequent chapters explore the binary vocal/instrumental categorisation, complex mediums including accompaniment and arrangements, the classification of musical instruments, the classification of musical forms and genres, and the quasi-facet of function. The thesis culminates in five models which illuminate why music is so difficult to classify, as well as presenting novel solutions showing how music classification could be structured in the future

    Informação musical: análise semiótica da experiência de não especialistas em música e as implicações teóricas na organização do conhecimento

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    Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Educação, Programa Pós-Graduação em Ciência da Informação, Florianópolis, 2017.A Organização do Conhecimento (OC) é um processo de modelagem do conhecimento que se insere em um âmbito multidisciplinar de pesquisa, uma vez que busca estruturar e representar domínios específicos. O conhecimento, nesse sentido, está ligado ao campo das ideias, às atividades humanas de reconhecimento do mundo por meio da significação. Dessa forma, conhecer e mapear conceitos relacionados à música perpassa pela compreensão da amplitude do processo de significação suscitado por esse tipo de informação. Nesse sentido, o objetivo geral desta pesquisa foi analisar a informação musical, no campo da Organização do Conhecimento e da Informação, na perspectiva da Semiótica de Peirce. Os objetivos específicos foram: a) descrever os fundamentos teóricos da Semiótica de Peirce; b) relatar o processo de significação decorrente da música como signo; c) identificar, em não especialistas, a natureza dos elementos da semiose em decorrência da música como signo, com principal foco nos níveis de interpretantes; e d) evidenciar as implicações teóricas da significação da música na Organização do Conhecimento. O percurso metodológico foi realizado em três etapas. A primeira, teve por base a teoria Semiótica de Peirce, cuja discussão esteve estruturada principalmente em torno do conceito de interpretante peirceano em seus diferentes tipos e níveis. Na segunda etapa, desenvolvida no período do doutorado sanduíche na Université de Montréal (Canadá), foram realizadas entrevistas individuais com 17 participantes que utilizam a música para fins de recreação, com idade entre 18 e 29 anos, sem educação formal em música. O objetivo das entrevistas foi de extrair, a partir do relato de uma experiência intensa com a música, características dos elementos da semiose (signo, objeto, interpretante e indicações de hábito). Na terceira etapa da pesquisa, os princípios semióticos da significação da música foram cotejados com os princípios e objetivos da OC. Quatro contribuições teóricas para a OC da música foram apontadas: 1) significados emocionais do domínio da música não se pautam na convenção da linguagem; 2) a função do objeto na formação do interpretante emocional não é ajustar o significado à realidade; 3) conceitos presentes no domínio da música precisam ser analisados do ponto de vista da totalidade do processo semiótico, não é possível operar com elementos isolados; 4) os níveis de significado e o uso da informação musical são parâmetros daquilo que deve ser observado no mapeamento do domínio da música. Os resultados também nos levam a concluir que a categoria de primeiridade é central na representação da música em função de sua natureza expressiva icônica, sendo evidente a formação do interpretante emocional no grupo de indivíduos não especialistas em música.Abstract : Knowledge Organization (KO) is a process of knowledge modeling which is part of an multidisciplinary research field, since it seeks to shape and represent specific domains. Knowledge, in this sense, is a concept associated to ideas and human activities of understanding the world through signification. Hence, being able to know and map music-related concepts depends on comprehending the extension of the signification process elicited by this kind of information. The main goal of this research was to analyze the music information within Knowledge and Information Organization field based upon Peirce?s semiotics perspective. The specific goals were: (a) to describe the theoretical bases of Peirce?s semiotics; (b) to report the signification process that arises due to music as a sign; (c) to identify the nature of semiosis elements caused by the music-as-a-sign in a group of non-expert individuals, focusing on interpretant levels; (d) to unfold the theoretical implications of music signification in Knowledge Organization. The methodology was developed in three stages. The first one was grounded in Peirce?s semiotics theory, and its discussion concerned especially the Peircean concept of interpretant, its different types and levels. The second stage of this research involved data collection and took place in the Université de Montréal, in Canada, thanks to a Sandwich PhD scholarship. Individual interviews were recorded with 17 subjects aged between 18 and 29, who make use of music for recreational purposes, with no formal instruction in music. The aim of these interviews was to gather attributes of semiosis elements (sign, object, interpretant and habit indications) from reports about intense experiences with music. In the final stage of the investigation semiotic principles of music signification were tied to principles and goals within KO. There are four theoretical contributions for KO of music information: (1) emotional meanings from the music domain do not depend on language convention; (2) the role of the object in constructing the emotional interpretant is not about adjusting meaning to reality; (3) concepts of the music domain must be analyzed from a point of view that assumes the totality of the semiotic process, it is not possible to operate with separate elements; (4) levels of meaning and use of music information point towards what should be observed while mapping the music domain. The results suggest the firstness category is central to music representation due to its iconic expressive nature, since it is noticeable that the emotional interpretant is depicted by non-expert subjects

    Analysis of representation and recovery of scores in specialized catalogs

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    The musical score is used to represent music through writing. As it is a specific type of material, it requires care in the treatment within libraries with specialized collections; when this process does not occur, precariousness of the collection or problems for the user to recover them cause the loss of the score. Thus, there was a need to verify and analyze how the process of representation in libraries with collections specialized in sheet music is carried out. For this, the Library of the Conservatory of Tatuí, the Library of the Arts Institute (IA), UNICAMP, the Library of Art, UNESP, and the Catalog of Sheet Music at USP were selected. As methodological procedures, exploratory and analytical research, simulations of searches and recoveries of scores in these catalogs were used. Indeed, libraries have their own organization and indexing system, and some catalogs do not have the terms that represent the score and do not provide details of the record, making it impossible to view. Therefore, it is possible to conclude that the score requires attention in its treatment as a document and that there is a need to make improvements in the catalogs and in the indexing process, which aims to standardize their representation and recovery.A partitura musical é a representação, tanto no papel quanto no meio digital, da música. Por ser voltada para um público e conter informações ambos específicas é necessário que haja um tratamento adequado desse material nos acervos especializados.  Por isso, tem como objetivo de observar, verificar e analisar como é realizada a indexação desses materiais nessas bibliotecas.  Dessa forma, foram analisadas quatro bibliotecas especializadas em partituras musicais: Biblioteca do Conservatório de Tatuí; Biblioteca do Instituto de Artes (IA) da UNICAMP; Biblioteca Artes do Campus de São Paulo da UNESP e o catálogo de Partituras da USP.  Para realizar esse estudo, se deu através de simulações de busca e recuperações de partituras nos catálogos dessas bibliotecas. Cada biblioteca possui seu próprio sistema e sua própria forma de organizar a informação musical. Pode-se concluir que a partir da análise e da observação das informações recuperadas nos catálogos que é importante que o indexador tenha um conhecimento sobre a área de música e que a partitura tenha um tratamento diferente de um texto como livro ou artigo no processo de indexação

    Student-Centered Interpretation and Expression in the Large-Group Secondary Band Class

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    In this study, the learner-centered instruction of the interpretation of expressive elements in a large-group band class is closely examined in order to determine if secondary-level students primarily learning in a large-group setting are able to utilize their own interpretations in applying expressive elements to their own performances. During the spring of 2014, a focus group of 11 students from an eighth-grade band in southeastern Wisconsin were assessed by a panel of six evaluators who are experienced Wisconsin band directors. Evaluations consisted of audio-recorded performances of two short melodies, one being actively studied in the large-group classroom setting and one not being rehearsed, before and after a nine-week teaching period. Using a mixed-method approach, quantitative scores and qualitative comments were received from evaluators for each pre- and post-treatment performance. In addition, qualitative feedback was gathered from student written reflections and formative teacher observations. Results indicated student growth in overall levels of expression and interpretation, as well the clarity of all expressive elements (rubato, dynamic contrast, and tension and release) focused upon during the study in both compositions. The amount of growth, however, was not as large in the composition not being rehearsed in the classroom setting
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