| 1. |
- Gustavii, Mats, 1973-
(author)
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Binaurally recorded sound in interaction with the cinema's surround sound to moving image - the next evolutionary step of the film medium?
- 2024
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Reports (other academic/artistic)abstract
- This study explores the potential to enhance the film experience by experimenting with the repositioning of listening points in cinemas. By combining traditional cinema sound systems with innovative audio technology, such as noise-cancelling headphones with ambient sound function and binaural recording techniques, the project aims to create an enriched 3D sound experience.A specially written script resulted in a short film tailored to test these sound technologies.The study's findings indicate that the integration of binaural sound recordings and music from the cinema's surround system, especially when the music is recorded using a technique that places musicians around the recording equipment to enhance the immersive sensation, can strengthen the sense of presence in the film experience. However, the final sound quality is negatively affected by the current limitations of the noise-cancelling headphones in reproducing external music with high quality. The study concludes that future improvements in headphone technology could enable a more integrated and realistic sound environment in cinemas, without requiring significant investments in new sound equipment.
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| 2. |
- Elblaus, Ludvig, et al.
(author)
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Exploring the design space : Prototyping "The Throat V3"for the elephant man opera
- 2011
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In: Proceedings of the 8th Sound and Music Computing Conference, SMC 2011. - Padova, Italy : Padova University Press. - 9788897385035 ; , s. 141-147
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Conference paper (peer-reviewed)abstract
- Developing new technology for artistic practice requires other methods than classical problem solving. Some of the challenges involved in the development of new musical instruments have affinities to the realm of wicked problems. Wicked problems are hard to define and have many different solutions that are good or bad (not true or false). The body of possible solutions to a wicked problem can be called a design space and exploring that space must be the objective of a design process.In this paper we present effective methods of iterative design and participatory design that we have used in a project developed in collaboration between the Royal Institute of Technology (KTH) and the University College of Opera, both in Stockholm. The methods are outlined, and examples are given of how they have been applied in specific situations.The focus lies on prototyping and evaluation with user participation. By creating and acting out scenarios with the user, and thus asking the questions through a prototype and receiving the answers through practice and exploration, we removed the bottleneck represented by language and allowed communication beyond verbalizing. Doing this, even so-called tacit knowledge could be activated and brought into the development process.
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| 3. |
- Elblaus, Ludvig, 1981-, et al.
(author)
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Singing Interaction : Embodied Instruments for Musical Expression in Opera
- 2014
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In: Leonardo music journal. - : MIT Press Journals. - 0961-1215 .- 1531-4812. ; 24, s. 7-12
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Journal article (peer-reviewed)abstract
- In the opera Sing the Body Electric! A Corporatorio, artists from the disciplines of opera, dance and the development of new musical instruments collaborated to create an onstage fusion of different technologies and artistic practices that connected performer, scenography and instrument. Gestures and movements of singers were captured by custom-built technologies. The singers also used custom-built technologies for transforming their vocal qualities and for creating synthesized accompaniment in real time. In this way the singers’ bodily musical processes further extended their vocal performances, rooted in operatic praxis, allowing for heightened expressivity and emergent scenic subjects.
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| 4. |
- Elblaus, Ludvig, 1981-, et al.
(author)
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Uncanny materialities : Digital Strategies for Staging Supernatural Themes Drawn from Medieval Ballads
- 2017
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In: Leonardo music journal. - Cambridge : MIT Press. - 0961-1215 .- 1531-4812. ; 27:1, s. 62-66
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Journal article (peer-reviewed)abstract
- In the medieval tradition of ballads, a recurring theme is that of transformation. In a staged concert for chamber orchestra, singers and dancers called Varelser och Ballader (Beings and Ballads), we explored this theme using ballads coupled with contemporary poetry and new music. The performance made use of custom-made digital musical instruments, using video analysis and large-scale physical interfaces for transformative purposes. In this article, we describe the piece itself as well as how uncanny qualities of the digital were used to emphasize eerie themes of transformation and deception by the supernatural beings found in the medieval ballads.
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| 5. |
- Eriksson, Sara, et al.
(author)
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Dancing With Drones : Crafting Novel Artistic Expressions Through Intercorporeality
- 2019
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In: Proceedings of the 2019 CHI Conference on Human Factors in Computing Systems. - New York, NY, USA : ACM. - 9781450359702 ; , s. 617:1-617:12
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Conference paper (peer-reviewed)abstract
- Movement-based interactions are gaining traction, requiring a better understanding of how such expressions are shaped by designers. Through an analysis of an artistic process aimed to deliver a commissioned opera where custom-built drones are performing on stage alongside human performers, we observed the importance of achieving an intercorporeal understanding to shape body-based emotional expressivity. Our analysis reveals how the choreographer moves herself to: (1) imitate and feel the affordances and expressivity of the drones' 'otherness' through her own bodily experience; (2) communicate to the engineer of the team how she wants to alter the drones' behaviors to be more expressive; (3) enact and interactively alter her choreography. Through months of intense development and creative work, such an intercorporeal understanding was achieved by carefully crafting the drones' behaviors, but also by the choreographer adjusting her own somatics and expressions. The choreography arose as a result of the expressivity they enabled together.
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| 6. |
- García, Victoria Eugenia Bautista, et al.
(author)
-
Diseño y validación de un cuestionario de evaluación de la actitud hacia la música clásica del alumnado de educación secundaria obligatoria
- 2012
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In: Revista Electrónica de Investigación y Docencia (REID). - Jaen (Spain) : Universidad de Jaen (Spain). - 1989-2446. ; :7, s. 141-161
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Journal article (peer-reviewed)abstract
- In order to measure the attitude of Secondary School Students towards Classical Music, a questionnaire based on the traditional tri-dimensional model was built and validated. Items were therefore built upon the three-dimensional attitudinal model (i.e affective, cognitive and behavioural). Other variables were also taken into account in order to help for characterizing the study-population. In a first stage, 56 students from a High School in the city of Malaga were the initial sample for carrying out the pilot study. Eventually, the questionnaire was taken by 3137 subjects from Andalusia (Spain) in order to define itspsychometric values. From the first test of 30 items to the last of 25, several changes were made due tothe expert judgments, testing experiences and scale-validity tests.
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| 7. |
- MacGlone, Una, et al.
(author)
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Teaching free improvisation European higher music education teachers’ conceptual tools : European higher music education teachers’ conceptual tools
- 2024
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In: International Journal of Music Education. - : Sage Publications. - 0255-7614 .- 1744-795X.
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Journal article (peer-reviewed)abstract
- In higher music education (HME) contexts, free improvisation is currently a rapidly evolving field across musical genres. Previous research indicates that teaching and learning improvisation can be challenging, depending on students’ experience and how improvised music-making is facilitated, but few studies address free improvisation in HME. Our study has explored this field by utilising qualitative interviews with teachers of free improvisation in European HME institutions. Results provided insight into teachers’ motivation and the educational aims which informed their approaches to teaching improvisation. Some teachers referred to a canon of free improvised or experimental music and well-known improvisers, interpreted as a need amongst the teachers to position and legitimise a potentially marginalised subject within institutions. Teachers in our study used different types of frameworks to develop students’ ability to interact and listen. Focusing on musical parameters, limitations of choices or language metaphors were often used as tools for acquiring such aims. Results further indicate that free improvisation should be a safe space, enhance democratic values and disrupt hierarchies of knowledge. In sum, our study contributes to mapping and understanding contradictions and complexities of this developing area of pedagogy.
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| 8. |
- Mateos-Moreno, Daniel, 1977-
(author)
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Contributions from Neuroscience and Philosophy for Music Education [Evidencias desde la neurociencia y la filosofía para la educación musical]
- 2014
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In: Música y educación: Revista trimestral de pedagogía musical. - Madrid (Spanien) : Musicalis, SA. - 0214-4786. ; 27:98, s. 20-31
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Journal article (peer-reviewed)abstract
- The place of music in the general education of individuals is addressed from a renovated paradigm.Through a rereading of certain ideas of Rousseau, Freud, Hegel, Malinowski and Leibniz, a thesis is grounded on what is permanent in human nature and what the aims should be foreducating that nature. Later, recent advances in neuroscience are discussed in relation tothe biological and functional nature of any individual facing music. Finally, a convergence of both paradigms is discussed within the Spanish education system, concludingthat the necessary presence of music as a key pillar in education is supportedby two mainstays: for the intrinsic value of music towards the developmentof human potentiality (music “for the sake of music”); and for theextrinsic values of music given its cross-disciplinary effectson different human potentialities.
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| 9. |
- Mateos-Moreno, Daniel, 1977-, et al.
(author)
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Pedagogy of musical styles in performance [Didáctica del estilo en la interpretación musical]
- 2011
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In: Música y educación: Revista trimestral de pedagogía musical. - Madrid (Spanien) : Musicalis, SA. - 0214-4786. ; 24:88, s. 16-29
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Journal article (peer-reviewed)abstract
- Style is not commonly taken into account for leveling difficulties in instrumental performance, as technique is. Accordingly, teaching resources are solely organized around the technicalities of performance, leaving style as a cross-curricular aspect. With the aim of achieving a more meaningful learning of style, our work proposes a model for establishing instrumental teaching built not only around technicalaspects but also on performance style, taking as a starting point the rethinking oftwo dichotomies: on one hand, printed music and performance stylisticallyadequate; on the other, instrumental technique and interpretative style.
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| 10. |
- Unander-Scharin, Carl, 1964-
(creator_code:cre_t, composer)
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Riddartornet
- 2018
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Artistic work (peer-reviewed)abstract
- Riddartornet är en nykomponerad kammaropera med musik av Carl Unander-Scharin och libretto av Magnus Florin i regi av Nils Spangenberg. Operan baserades på E. J. Stagnelius pjäs med samma namn och specialskrevs för Musik- och operahögskolan vid Mälardalens högskola under ledning av högskolans konstnärliga chef och professor i sång Lena Hellström-Färnlöf. Pjäsen från 1821 är en romantisk, skräckgotisk tragedi om en faders begär till sin dotter i den förvridna åtrån efter oskuld och ren urbild. Det är ett otäckt drama som speglar Stagnelius syn på tillvaron som en dyster vrångbild av det eviga. Guds klara evangelium strålar ner från stjärnorna, men varat är en endast en ond dröm.Riddartornet är en specialbeställd opera som komponerats utifrån varje sångstudents förutsättningar. I och med detta ålades sångpedagogen även ett konstnärligt ansvar för att casta de medverkande i respektive roll innan operan skrevs och att verka kommunikativt som ett led mellan student och upphovspersoner. Grundidén bygger på att konsten och pedagogiken i detta projekt berikar varandra. Därav det täta och unika samarbetet mellan kompositör och sångpedagog, senare även sångpedagog och regissör. Genom projektet undersöktes denna dubbla position, pedagogiskt och konstnärligt.
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