| 1. |
- Dahl, Sofia, et al.
(författare)
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Keeping the tempo and perceiving the beat
- 2006
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Ingår i: 9th International Conference on Music Perception and Cognition. - 8873951554
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)
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| 2. |
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| 3. |
- Gullberg, Anna-Karin
(författare)
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Boom town music education : a co-creating way to learn music within formal music education
- 2006
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Ingår i: 9th International Conference on Music Perception and Cognition. - : Society for Music Perception. - 8873951554 ; , s. 1622-1627
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Konferensbidrag (refereegranskat)abstract
- The general purpose of this presentation is to discuss how alternative forms of learning strategies in exclusively designed contexts may strengthen the development of musical, social and personal competences. Research in music education has confirmed that how knowledge in music is created is highly correlated with context qualities, as for example the organization of musical learning and social interaction. Still, it is difficult to free the practice of learning in music from conservatoire tradition and didactic "hidden curricula's". Formal learning situations means benefiting from experienced teachers and mentors, but music institutions all too often suffer by institutionalization and a levelling of cultures. On the other hand informal music learning is largely characterised by co-creating and peer learning. By not paying sufficient attention to learning processes within smaller groups, the great opportunities for powerful growth in personal and social skills, are also passed over.In the autumn of 2005, a completely new curriculum in music education - BoomTown Music Education (BTME) - was born within the School of Music in Piteå but as a branch of the municipal music project BoomTown in Borlänge. The educational baseline is resting on scientific theories and previous research dealing with informal learning strategies. Peer learning and playing by the ear is here acknowledged and strongly supported. The philosophy of BTME opens up to a wider musical, social and ethnic variety and is supported by a mixture of guest musicians, artists, innovators etc. Several research projects are started, and data is already collected by observations during rehearsals and concerts. An interesting body of knowledge will also come from student's diaries and written reflections, collected since the start. Research results will in time contribute with important knowledge about how learning in music is affected by the organisation and design of learning contexts.
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| 4. |
- Hansen, Kjetil Falkenberg, 1972-, et al.
(författare)
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Principles for expressing emotional content in turntable scratching
- 2006
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Ingår i: Proc. 9th International Conference on Music Perception & Cognition. - Bologna : Bonomia University Press. - 8873951554 ; , s. 532-533
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Konferensbidrag (refereegranskat)abstract
- Background: Scratching is a novel musical style that introduces the turntable as a musical instrument. Sounds are generated by moving vinyl records with one or two hands on the turntable and controlling amplitude with the crossfader with one hand. With this instrument mapping, complex gestural combinations that produce unique 'tones' can be achieved. These combinations have established a repertoire of playing techniques, and musicians (or DJs) know how to perform most of them. Scratching is normally not a melodically based style of music. It is very hard to produce tones with discrete and constant pitch. The sound is always strongly dependent on the source material on the record, and its timbre is not controllable in any ordinary way. However, tones can be made to sound different by varying the speed of the gesture and thereby creating pitch modulations. Consequently timing and rhythm remain as important candidates for expressive playing when compared to conventional musical instruments, and with the additional possibility to modulate the pitch.Aims: The experiment presented aims to identify acoustical features that carry emotional content in turntable scratching performances, and to find relationships with how music is expressed with other instruments. An overall aim is to investigate why scratching is growing in popularity even if it a priori seems ineffective as an expressive interface.Method: A number of performances by experienced DJs were recorded. Speed of the record, mixer amplitude and the generated sounds were measured. The analysis focuses on finding the underlying principles for expressive playing by examining musician's gestures and the musical performance. The found principles are compared to corresponding methods for expressing emotional intentions used for other instruments.Results: The data analysis is not completed yet. The results will give an indication of which acoustical features DJs use to play expressively on their instrument with musically limited possibilities. Preliminary results show that the principles for expressive playing are in accordance with current research on expression.Conclusions: The results present some important features in turntable scratching that may help explain why it remains a popular instrument despite its rather unsatisfactory playability both melodically and rhythmically.
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| 5. |
- Krantz, Göran, et al.
(författare)
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Melodic intervalls as reflected in body movement
- 2006
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Ingår i: 9th International Conference on Music Perception and Cognition. - 8873951554 ; , s. 265-268
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)
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| 6. |
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| 7. |
- Puiggròs, Montserrat, et al.
(författare)
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Automatic characterization of ornamentation from bassoon recordings for expressive synthesis
- 2006
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Ingår i: 9th International Conference on Music Perception & Cognition. - Bologna : Bonomia University Press. - 8873951554 ; , s. 1533-1538
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Konferensbidrag (refereegranskat)abstract
- Expressive performance characterization is traditionally based on the analysis of the main differences between performances, players, playing styles and emotional intentions. This work addresses the characterization of expressive bassoon ornaments by analyzing audio recordings played by a professional bassoonist. This characterization is then used to generate expressive ornaments from symbolic representations by means of Machine Learning
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| 8. |
- Tykesson, Anders, 1956
(författare)
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Musical interpretation and the content of music
- 2006
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Ingår i: 9th International conference on music perception and cognition. Abstracts (ed.: M. Baroni, A. R. Addessi, R. Caterina, M. Costa) Bologna: Bononia University Press, 2006. - 8873951554
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)
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