Drawing texture with the toy piano

This paper discusses the influence of hand drawing techniques in my work for toy piano. It is known that composers often respond expressively to ideas and draw compositional strategies from other domains of life, for example, the mathematical proportions of architecture on some compositions of Guillame DuFay, Peter Maxwell Davies and Eve Duncan. For me, a chance comment from an artist friend, Deanna Petherbridge's book, The Primacy of Drawing: Histories & Theories of Practice (2010) and Elizabeth Cooper's botanical watercolours of the Australian rainforest tree Stenocarpus sinuatus (Firewheel Tree) offered ideas and techniques for several works for toy piano, and piano and toy piano (one player). While my musical response to hand drawing techniques is largely an expressive response, there is an element of trying to adapt the drawing techniques in a way similar to how artists use them, but in sound

Minimal music: roles and approaches of teachers engaging students with a contemporary art music through composing activities

Since it arose in the 1960s, the minimalist aesthetic has increasingly influenced composers of art and popular music around the world and, in turn, minimalist composers have drawn on the compositional ideas of Western popular music and several non-Western musics. Educationally, minimal music offers much potential for music in the classroom as it embodies a number of musical characteristics known to, and preferred by, students aged 9-18 years at primary, secondary and first year tertiary level. Socially, it offers teachers an opportunity to engage students, through composing activities, with contemporary society. The study aims, firstly, to analyse compositions by students aged 9, 12, 15 and 18 years and their teachers, seeking pastiche development of, and compositional expansion beyond, the musical concepts presented in a resource booklet of projects, The Pulse Music Album. Secondly, this study aims to investigate how nineteen participating teachers in three countries engage their students with minimalist composing activities stimulated through the resource booklet. The study attempts to determine why teachers adopt their particular roles and strategies by examining music qualifications, preferences and experience, teaching perspectives and teaching environments. It also seeks to identify reasons why one group of teachers submitted pieces which were pastiches of those presented in the projects and another group submitted compositions which moved well beyond pastiche into an expansion of these same musical concepts and argues for this as evidence of dialogue with contemporary society. Conclusions drawn from the findings note that while there are many commonalities between the backgrounds and approaches of both groups of teachers, there are clearly observed differences. These differences suggest approaches to classroom composition for consideration by practising classroom teachers, in-service instructors and teacher training institutions

Music sight-reading expertise, visually disrupted score and eye movements

Previous studies have shown that performance at a defined level of music sight reading for pianists (6th Grade) is predictive of eye movement patterns (Waters, 1998) and that such patterns resemble those of text reading experts (Furneaux & Land, 1999; Sloboda, 1974; Truitt, 1997; Wolf, 1976). However, little is known about how expertise might affect eye movement patterns when the score has been visually disrupted using notational features that are unexpected or outside conventional presentation.The current project examined the effect of altering features of the music score on eye movement patterns of expert and non-expert music sight readers. Participants sight read specifically composed musical excerpts, which were then re-presented with the bar-lines removed, altered inter-note spacing and unpredictable beaming directions. Fixation and saccade characteristics were measured and compared between the two performances. It was expected that expert music sight readers would be most affected when the score was disrupted as they would be less capable of grouping notes into familiar, single units for efficient visual processing. Expert sight readers performed significantly faster than non-experts in both conditions: p<0.0001. Saccadic latency increased significantly for experts in the disrupted condition: p=0.0259, while non-experts increased slightly, not reaching significance. This suggests that the disruption of visual expectation was sufficient to cause a lengthening of saccade programming in the experts - an indication of interference with the chunking process. The resultant EM patterns for the non-experts demonstrated heightened non-expert behaviours: increased fixations of shorter duration.

The interface between arts practice and research: Attitudes and perceptions of Australian artist-academics

Whilst an academic working in the arts may have been appointed as a consequence of artistic accomplishment and a capacity to teach, the research that underpins such work is an intrinsic part of its production and also needs to be recognised. In Australia, the ability of the artist-academic to translate research into a form that is respected and rewarded is an issue of contention. This paper gathers responses to this issue. Perceptions of and attitudes to creative work as research are canvassed alongside life decisions arising from those perceptions and attitudes. This research occurs in the context of a new Australian framework for the evaluation of research. This framework offers some recognition of the research that supports creative practice. Thus, the long-standing experience of compromise reported by the Australian artist-academics interviewed for this study are discussed alongside new policies that seek to construct methodologies for its amelioration

Exploring the Pedagogy and Impact of Technology on ePortfolio Creation for Arts Students in Australian Tertiary Study

The creative application and development of an ePortfolio as a pedagogic innovation in learning and teaching in higher education lies in strategies acquired by students to select authentic evidence to document achievements and skills as a graduate. Many educators use ePortfolios as a learning tool and through the introduction of reflection, or reflective practice activities the ePortfolio has the potential to be a powerful tool for all learners. This paper reports the pedagogic and technological undertaking of ePortfolio development for creative and performing arts students at four tertiary institutions in Australia. It explores how the artist perceives her/himself and the choice of evidence selected to showcase development, thus highlighting aspects of artistic identity versus professional career identity. ePortfolio development involves reflection, organisation and critical thinking by students developing a learning ‘story’ that accurately represents skills learnt and competencies developed during tertiary study. The creation of an ePortfolio often relies on a student’s ability to collect, reflect and select material that is appropriate; and to exercise the management of their knowledge in such a way that contributes to linking pedagogy and technology. It can also involve students exploring their known ICT skills and, at times, extending these beyond their expectation. This paper will review literature, in addition to reporting initial experiences of academics and students where the ePortfolio has been implemented into curriculum for creative and performing arts degree programs. Results show ePortfolios allowed students to achieve a demonstration of artistic capabilities and revealed that students have increased their ability to plan, implement and assess their learning reflectively; and to understand documentation relevant to Arts careers. Students developed a greater competency in their educational beliefs, pedagogical skills, University generic attributes, technological expertise and ability to address employment parameters required by employer groups and such professional bodies

Electronic portfolios and learner identity: an ePortfolio case study in music and writing

Although the employability of graduates is of concern across further and higher education it is particularly problematic in the arts disciplines, from which few students transition to a traditional, full-time position. Arts graduates shape their work to meet personal and professional needs, and the successful negotiation of this type of career requires a strong sense of identity and an awareness of diverse opportunities. The challenge for educators is how we might develop these capacities whilst being mindful of students’ dreams, which are often focused on artistic excellence and recognition. This paper reports findings from a collaborative study undertaken at four Australian universities. With a focus on developing an electronic portfolio (eP), the study involved students in classical and contemporary music, music education, music technology, creative writing and professional writing. The combination of music and writing provided points of comparison to identify issues specific to music, and those that might apply more generally. This paper reports findings related to learner identity, drawing evidence from survey and interview data. The study, which was driven by the learning process rather than the technological tool, revealed that students’ use of eP transitions from archive to self-portrait. Moreover, the eP emerged as a vehicle through which identity is negotiated and constructed. Indeed, the process of developing of an eP prompted students to adopt future-oriented thinking as they began to redefine their learning in relation to their future lives and careers. These findings were common to all students, regardless of discipline or technological platform.This work was supported by the Australian Government Office for Learning and Teaching [ID11-2041]. The views in this paper do not necessarily reflect the views of the Australian Government Office for Learning and Teachin

How artists working in academia view artistic practice as research: Implications for tertiary music education

Artistic research output struggles for recognition as ‘legitimate’ research within the highly competitive and often traditional university sector. Often recognition requires the underpinning processes and thinking to be documented in a traditional written format. This article discusses the views of eight arts practitioners working in academia by asking whether or not they view their arts practice as research; and if they do, how it is so. The findings illuminate ways in which artistic practice is understood as research and reveal how the process of analytical and reflective writing impacts artist academics, their artistic and academic identities and their environment. The findings suggest a frame within which to advocate the equivalence of artistic research with traditional scholarly research. They also suggest a rationale for arguing against this, focusing instead (or perhaps as well) on a wider understanding of what constitutes knowledge. This has implications for academics, for students and for universities in recognising the research inherent within arts practice itself, and in recognising the value of practice-led writing in understanding and communicating new knowledge, new methods, and new definitions of research

Posterior approach to optimise patient-reported outcome from revision hip arthroplasty

Introduction Most total hip arthroplasties (THAs) in the UK are performed through a posterior or lateral surgical approach. We aimed to investigate any difference in outcome from revision THA according to the approach at primary and revision THA surgery. Methods A retrospective cohort study of 205 patients who underwent revision THA for aseptic loosening. Patients rated their pain from 0-10 and completed the Self-Administered Patient Satisfaction Scale (SAPS), Oxford Hip Score (OHS), WOMAC and Short form-12 questionnaires. Results 205 patients (209 hips) from a cohort of 238 patients (243 hips, 86%) were available for analysis. The mean follow-up was 5 years (SD 1.71). Grouping by approach 20% (43/209) had both primary and revision procedures via a lateral approach, 20% (43/209) had their primary surgery via a lateral approach and their revision surgery via a posterior approach, whilst 60% (123/209) had both procedures via a posterior approach. The WOMAC and OHS were significantly better in patients who had a posterior approach for both primary and revision surgery, compared to those that did not (OHS p = 0.028, WOMAC p = 0.026). We found no significant differences in pain, satisfaction or health-related quality of life between the groups. Discussion Choice of approach for revision hip arthroplasty is influenced by a number of factors, but in clinical situations where either a lateral or posterior approach could be used, the posterior approach appears to be associated with better joint-specific outcomes. Registry data may help further explore the associations between surgical approach and the outcome from revision THA. </jats:sec

First-response treatment after out-of-hospital cardiac arrest:a survey of current practices across 29 countries in Europe

Background: In Europe, survival rates after out-of-hospital cardiac arrest (OHCA) vary widely. Presence/absence and differences in implementation of systems dispatching First Responders (FR) in order to arrive before Emergency Medical Services (EMS) may contribute to this variation. A comprehensive overview of the different types of FR-systems used across Europe is lacking. Methods: A mixed-method survey and information retrieved from national resuscitation councils and national EMS services were used as a basis for an inventory. The survey was sent to 51 OHCA experts across 29 European countries. Results: Forty-seven (92%) OHCA experts from 29 countries responded to the survey. More than half of European countries had at least one region with a FR-system. Four categories of FR types were identified: (1) firefighters (professional/voluntary); (2) police officers; (3) citizen-responders; (4) others including off-duty EMS personnel (nurses, medical doctors), taxi drivers. Three main roles for FRs were identified: (a) complementary to EMS; (b) part of EMS; (c) instead of EMS. A wide variation in FR-systems was observed, both between and within countries. Conclusions: Policies relating to FRs are commonly implemented on a regional level, leading to a wide variation in FR-systems between and within countries. Future research should focus on identifying the FR-systems that most strongly influence survival. The large variation in local circumstances across regions suggests that it is unlikely that there will be a 'one-size fits all' FR-system for Europe, but examining the role of FRs in the Chain of Survival is likely to become an increasingly important aspect of OHCA research