Workshopping Participation in Music

2013 ◽  
Vol 18 (3) ◽  
pp. 282-291 ◽  
Author(s):  
Kazuhiro Jo ◽  
Adam Parkinson ◽  
Atau Tanaka
Keyword(s):  
Human Computer Interaction ◽  
Cognitive Science ◽  
Contemporary Art ◽  
Sound Perception ◽  
Musical Practice ◽  
Music Practice ◽  
Conceptual Frame ◽  
Do It Yourself ◽  
Participatory Music ◽  
Diverse Groups

This paper presents a process-based approach to considering workshops as a route to participation in collective creative musical practice. We evoke the notion of the Music One Participates In, which focuses on a shift from the listener-as-consumer to participant-actor actively engaged in sound perception and production. We look at the range of different methods that make up the term ‘workshop’, as well as emergent relationships between facilitator and participant in creative do-it-yourself activities to frame our discussion of participatory music practice. We then examine the nature of participation across a range of disciplines from social and cognitive science through human computer interaction to radical and contemporary art, and identify possible contradictions in horizontal utopian organisational models. With this conceptual frame as a backdrop, we present four types of workshop that we have conducted across time at different sites with diverse groups of participants. We apply concepts from the participation literature to analyse our music workshops, and attempt to reconcile the potentially diverging agendas of facilitator and participant to arrive at a process-based view of ‘workshopping’.

Experiment role in the world music (based on the «The Road» album of the Ukrainian «Dakha Brakha» band)

2018 ◽  
pp. 215-227
Author(s):  
Iia Fedorova
Keyword(s):  
Folk Music ◽  
World Music ◽  
The Other ◽  
Modern Music ◽  
Musical Practice ◽  
The Road ◽  
Music Practice ◽  
The World ◽  
Binary Oppositions ◽  
Musical Practices

The main objective of this study is the substantiation of experiment as one of the key features of the world music in Ukraine. Based on the creative works of the brightest world music representatives in Ukraine, «Dakha Brakha» band, the experiment is regarded as a kind of creative setting. Methodology and scientific approaches. The methodology was based on the music practice theory by T. Cherednychenko. The author distinguishes four binary oppositions, which can describe the musical practice. According to one of these oppositions («observance of the canon or violation of the canon»), the musical practices, to which the Ukrainian musicology usually classifies the world music («folk music» and «minstrel music»), are compared with the creative work of «Dakha Brakha» band. Study findings. A lack of the setting to experiment in the musical practices of the «folk music» and «minstrel music» separates the world music musical practice from them. Therefore, the world music is a separate type of musical practice in which the experiment is crucial. The study analyzed several scientific articles of Ukrainian musicologists on the world music; examined the history of the Ukrainian «Dakha Brakha» band; presented a list of the folk songs used in the fifth album «The Road» by «Dakha Brakha» band; and showed the degree of the source transformation by musicians based on the example of the «Monk» song. The study findings can be used to form a comprehensive understanding of the world music musical practice. The further studies may be related to clarification of the other parameters of the world music musical practice, and to determination of the experiment role in creative works of the other world music representatives, both Ukrainian and foreign. The practical study value is the ability to use its key provisions in the course of modern music in higher artistic schools of Ukraine. Originality / value. So far, the Ukrainian musicology did not consider the experiment role as the key one in the world music.

Human-Computer Interaction as Cognitive Science

2002 ◽  
Vol 46 (21) ◽  
pp. 1767-1771 ◽  
Author(s):  
Ronald Laurids Boring
Keyword(s):  
Human Computer Interaction ◽  
Human Factors ◽  
Cognitive Science ◽  
Computer Interaction

Human-computer interaction and cognitive science share historical interdisciplinary roots in human factors, but the two fields have largely diverged. Many attempts have been made to apply cognitive science to human-computer interaction, but the reverse is curiously not the case. This paper outlines ways in which human-computer interaction can serve as a unifying framework for cognitive science.

scholarly journals A survey to investigate advanced musicians’ flow disposition in individual music practice

2018 ◽  
Vol 37 (1) ◽  
pp. 107-117 ◽  
Author(s):  
Marcos V. Araújo ◽  
Christopher F. Hein
Keyword(s):  
Teaching And Learning ◽  
Task Complexity ◽  
Daily Practice ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Musical Practice ◽  
Music Practice ◽  
Loss Of Self ◽  
Practice Experience ◽  
Practice Time

This study explored advanced musicians’ dispositions to flow in musical practice. A total of 168 classically trained musicians answered a questionnaire assessing their proneness for flow experience during musical practice and associations between flow and demographic factors, practice routines and musical instruments. Dispositions to flow in musical practice did not vary across musical instrument groups, age or gender. Positive associations were found between daily practice time and flow, suggesting that flow may contribute to engagement with daily practice. Negative associations between music practice experience and loss of self-consciousness and challenge–skill balance were found, suggesting that even among experts the level of task complexity during practice may affect perceptions of competence. While six individual flow indicators were frequently experienced, three indicators were much less experienced, pointing to the existence of another similar relevant experience in the practice of expert performers, named as optimal practice experience. The article finishes with implications regarding the benefits of flow for teaching and learning practices.

scholarly journals Why Should Scientists be on YouTube? It’s all About Bamboo, Oil and Ice Cream

2021 ◽  
Vol 6 ◽  
Author(s):  
Eric B. Brennan
Keyword(s):  
Scientific Literacy ◽  
Visual Communication ◽  
Science Communication ◽  
Scientific Information ◽  
Ice Cream ◽  
Communication Tools ◽  
The Public ◽  
Communications Skills ◽  
Do It Yourself ◽  
Diverse Groups

Scientific information is a key ingredient needed to tackle global challenges like climate change, but to do this it must be communicated in ways that are accessible to diverse groups, and that go beyond traditional methods (peer-reviewed publications). For decades there have been calls for scientists to improve their communication skills—with each other and the public—but, this problem persists. During this time there have been astonishing changes in the visual communication tools available to scientists. I see video as the next step in this evolution. In this paper I highlight three major changes in the visual communication tools over the past 100 years, and use three memorable items—bamboo, oil and ice cream—and analogies and metaphors to explain why and how Do-it-Yourself (DIY) videos made by scientists, and shared on YouTube, can radically improve science communication and engagement. I also address practical questions for scientists to consider as they learn to make videos, and organize and manage them on YouTube. DIY videos are not a silver bullet that will automatically improve science communication, but they can help scientists to 1) reflect on and improve their communications skills, 2) tell stories about their research with interesting visuals that augment their peer-reviewed papers, 3) efficiently connect with and inspire broad audiences including future scientists, 4) increase scientific literacy, and 5) reduce misinformation. Becoming a scientist videographer or scientist DIY YouTuber can be an enjoyable, creative, worthwhile and fulfilling activity that can enhance many aspects of a scientist’s career.

Understanding User Experience

2019 ◽  
pp. 1588-1599
Author(s):  
Camille Dickson-Deane ◽  
Hsin-Liang (Oliver) Chen
Keyword(s):  
Human Computer Interaction ◽  
Cognitive Science ◽  
User Experience ◽  
Group Behavior ◽  
User Experiences ◽  
Societal Needs ◽  
Specific Outcome ◽  
Physical Reaction ◽  
Computer Interaction

User experience determines the quality of an interaction being used by an actor in order to achieve a specific outcome. The actor can have varying roles and evolving needs, thus reviewing and predicting experiences are important. As an actor uses and gains feedback, the feedback guides individual and group behavior, thus becoming pertinent to how interactions occur. This chapter questions how artefacts are designed to promote such interactions and what processes should be incorporated to ensure successful interpretation, use, (physical) reaction, and conation. This chapter discusses the effects of user experiences today based on societal needs and expectations. It shows how the field is delineated into numerous sub-topics, all of which can stand on their own yet still draw from each other. The discussions will include fields such as cognitive science, human-computer interaction, learning sciences, and even ergonomics to show how design and subsequently interactions can assist in having successful user experiences.

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