scholarly journals The Virtual is Material: Music Improvisation in Post-Digital Ecologies

2021 ◽  
Author(s):  
Paul Stapleton ◽  
John Bowers ◽  
Ada Pultz Melbye
Keyword(s):  
New York ◽  
Data Transfer ◽  
Music Performance ◽  
Musical Instrument ◽  
Art Museum ◽  
Research Centre ◽  
Sound Design ◽  
Found Objects ◽  
Spoken Text ◽  
Custom Made

Link to performance: https://vimeo.com/640946914/cf858052e1AbstractThis performance-lecture was originally presented at the DRHA (Digital Research in the Humanities and Arts) conference in 2021 in Berlin. 3BP (Paul Stapleton, Adam Pultz Melbye and John Bowers) presents three views on the creation of an online performance ecology that allows the trio to improvise together, despite living in three separate locations. Rather than trying to overcome the instabilities and artefacts introduced by the fluctuations in data transfer, 3BP describe how such properties become native to the trios understanding of its own practice, affording new areas of creative exploration and consideration. The trio draws on Karen Barad’s use of terms such as diffraction and apparatus to discuss how music-making and improvisation embedded in run-away technologies affords emergent behaviour that transcends reflection to allow for diverse and unstable non-linear performances.BiosPaul Stapleton is an improviser and sound artist originally from Southern California. He designs and performs with a variety of modular metallic sound sculptures, custom made electronics and found objects in settings ranging from Echtzeitmusik venues in Berlin to the annual NIME conference. Paul is currently Professor of Music at SARC in Belfast, where he teaches and supervises research in new musical instrument design, music performance, sound design and critical improvisation studies. 
www.paulstapleton.net Adam Pultz Melbye is a double bass player, composer and audio programmer based in Berlin, currently undertaking a practice-led PhD at Sonic Arts Research Centre in Belfast.  Adam has released three solo albums and appear on another 40+ releases. He has created sound installations, composed music for film, theatre and dance, and performed in Europe, the US, Japan and Australia, his work appearing at Murray Art Museum Albury (Australia), The Danish National Gallery and Wien Modern (Austria).
www.adampultz.com John Bowers is an artist-researcher with an academic background in the social and computing sciences, design, music and critical theory. As an improvising musician, he works with modular synthesisers, home-brew electronics, reconstructions of antique image and sound-making devices, self-made software, field recordings, esoteric sensor systems, and spoken text. He often combines performance with walking and the investigation of selected sites to research an imagined discipline he calls ‘mythogeosonics’. He has performed at festivals including the Venice Biennale, Experimental Intermedia New York, Transmediale/CTM Vorspiel Berlin, Piksel Bergen, Electropixel Nantes, BEAM London, Aldeburgh Festival and Spill Ipswich, and toured with the Rambert Dance Company performing David Tudor’s music to Merce Cunningham’s Rainforest.

Facilitating the Musician's Engagement with New Musical Interfaces: Counteractions in Music Performance

2017 ◽  
Vol 41 (2) ◽  
pp. 69-82 ◽  
Author(s):  
Koray Tahiroğlu ◽  
Juan Carlos Vasquez ◽  
Johan Kildal
Keyword(s):  
Real Time ◽  
User Study ◽  
Music Performance ◽  
Musical Instrument ◽  
Sound Design ◽  
Audio Analysis ◽  
Degree Of Satisfaction ◽  
The Impact ◽  
Design Comparison

The level of engagement of a musician performing on an instrument is related to the degree of satisfaction derived from that activity. With our work, we aim to assist musicians performing live on a new musical instrument, Network of Interactive Sonic Agents (NOISA), by helping them maintain or increase their level of engagement with the activity. The NOISA system can learn from performers through observation and estimate their engagement level in real time. The new response module, which includes new sound design, comparison of gestures, and audio-analysis features, can also decide what action to take, and when to implement it, to help the performer recover from lowering engagement levels. We report on a formative user study that evaluates the impact of this response module.

The Science, Industry and Business Library of the New York Public Library: A High-Technology Research Centre for High-Volume Public Use

1998 ◽  
Vol 10 (1) ◽  
pp. 39-62
Author(s):  
Kristin McDonough
Keyword(s):  
New York ◽  
Customer Service ◽  
Information Service ◽  
Public Library ◽  
High Technology ◽  
High Volume ◽  
Research Centre ◽  
Technology Research ◽  
York Public Library ◽  
New York Public Library

In 1996, its centenary year, the New York Public Library opened its Science, Industry and Business Library (SIBL) in a former department store in mid-town Manhattan, occupying 160,000 square feet of usable floor space. The building, which has received six awards, is designed to be both attractive and highly functional. The $100 million project was funded by a combination of private and government funds. The concept is of a specialized high technology research centre with unparallelled older and current print collections (1.2 million books and serials) and access to electronic resources, which also incorporates a 50,000-item circulating library of popular print, audiovisual and multimedia materials. All of the resources are available to the public at no charge. Much of the collection is on open access. There are several professionally staffed information service points. The provision of extensive training sessions is proving to be an outstanding success, more than 20,000 people having registered since SIBL opened. A three-year grant from the W.K. Kellogg Foundation has enabled SIBL to train information professionals in the three crucial areas of technological competence, customer service and professional development.

scholarly journals Rhétorique d’une mise en espace

Protée ◽  
2006 ◽  
Vol 33 (2) ◽  
pp. 31-40 ◽  
Author(s):  
Odile Le Guern
Keyword(s):  
New York ◽  
Art Museum ◽  
Premier Lieu

Résumé Du 11 mars au 26 mai 2003, le Musée des beaux-arts de Lyon a accueilli la collection de Grenville Lindall Winthrop (1864-1943), léguée au Fogg Art Museum de l’Université Harvard. C’est donc une collection qui se déplace à la rencontre d’un nouveau public, pour combler d’autres attentes, émotion et plaisir esthétique, que celles prévues par le collectionneur, qui visait un public d’étudiants et de chercheurs et dont les objectifs étaient plutôt didactiques et pédagogiques. Pour concilier ces attentes différentes, le musée exploite son architecture et le temps éprouvé par le corps au cours de son exploration, afin de mettre en oeuvre des figures de rhétorique liées à la temporalité, qui anticipent, diffèrent, ralentissent ou accélèrent toute forme d’appropriation de la collection par les visiteurs, afin de suggérer le premier lieu d’exposition de la collection, la maison de Winthrop à New York.

scholarly journals Where flesh meets bone: dance in the modern art museum

2021 ◽  
Author(s):  
Erin Joelle McCurdy
Keyword(s):  
New York ◽  
Modern Art ◽  
Theoretical Framework ◽  
Art Museum ◽  
Art Museums ◽  
The Public ◽  
Liminal Spaces ◽  
High Profile ◽  
Tate Modern ◽  
Definition Of

Dance has recently taken up an increasing presence in major modern art museums as core curatorial programming, occupying galleries throughout exhibition hours. Although time figures prominently in emerging literature addressing this trend, spatial analyses remain fragmentary. Yet, dance is distinctive from other time-based media because of its heightened relationship with space. This raises an important question: how does dance’s newfound presence ‘re-choreograph’ the spaces of modern art museums? Extending the work of Henri Lefebvre, this dissertation adopts an expanded definition of museum space encompassing physical, social and conceptual domains. Dance, an art concerned with the shaping of space, is examined as a transformative force, productively intervening with the galleries, encounters, objects, and historical narratives comprising modern art museum space. In this study, purity and atemporality are identified as the preeminent principles organizing modern art museum space, and dance, an ‘impure’ and process-based art, is theorized as a productive contaminant, catalyzing change. Using this theoretical framework and Using this theoretical framework and evocative descriptions of Boris Charmatz’s 20 Dancers for the XX Century (Museum of Modern Art, New York, 18-20 October 2013), dance’s unique collaboration with modern art museum space is analyzed. Socially, dance’s multisensuality pollutes museum goers’ ocularcentric experiences with art. Conceptually, dance diversifies understandings of objects and the androcentric history they uphold. Physically, dance is carving out new spaces, with performance venues being incorporated into the ‘bones’ of high profile institutions. Interspersed between these analytical chapters, evocative descriptions of Spatial Confessions (On the Question of Instituting the Public) by Bojana Cvejić and collaborators (Tate Modern, London, 21-24 May 2014) introduce observations beyond the analytical scope, opening up the liminal spaces of this document to ongoing inquiry. This dissertation contributes a sustained analysis of dance’s spatial impact on modern art museums. By investigating how dance intervenes with the limitations of the white cube, it critiques this supposedly ‘blank’ space, questioning its continued supremacy within these institutions. Moreover, as dance is ushered into performance venues within the museum’s expanding domain, this dissertation interrogates the modern propensity for specialization and master narratives pervading the spaces of these institutions, despite decades of interventional artistic and curatorial practices.

The Universal Teacher, by J. E. Maddy and T. P. Giddings (1923)

2010 ◽  
Vol 58 (4) ◽  
pp. 384-410
Author(s):  
Phillip M. Hash
Keyword(s):  
New York ◽  
Vocal Music ◽  
Musical Instrument ◽  
Independent Learning ◽  
University Of Southern California ◽  
Class Time ◽  
The Subject ◽  
Research Questions ◽  
The University ◽  
Instrumental Methods

The Universal Teacher for Orchestra and Band Instruments ( UT), a class method by Joseph E. Maddy and Thaddeus P. Giddings published by the Conn Musical Instrument Company in 1923, was the subject of this study. Research questions focused on (1) details surrounding the writing and publishing of the UT; (2) philosophical, psychological, and pedagogical principles behind the method; (3) the influence of the UT on class teaching and subsequent books; and (4) implications of this research for modern practice. Maddy and Giddings wrote the UT from 1920 to 1922 while teaching summer methods courses together at Chautauqua, New York, and at the University of Southern California. The authors designed the book to appeal to children by applying the song method from elementary vocal music to instrumental instruction. This pedagogy differed from previous instrumental methods in that instructional material consisted entirely of melodies rather than scales and exercises. The UT also employed a detailed, systematic series of procedures intended to maximize the use of class time, hold students accountable for their progress, and allow independent learning with as little teacher intervention as possible.

Increment of Fatigue, Depression, and Stage Fright During the First Year of High-Level Education in Music Students

2012 ◽  
Vol 27 (1) ◽  
pp. 43-48 ◽  
Author(s):  
Horst Hildebrandt ◽  
Matthias Nübling ◽  
Victor Candia
Keyword(s):  
Music Performance ◽  
Music Students ◽  
Stage Fright ◽  
Negative Effects ◽  
Professional Musicians ◽  
Freshman Year ◽  
Work Related ◽  
Custom Made ◽  
Before And After ◽  
High Level

BACKGROUND: Public opinion associates music performance with pleasure, relaxation, and entertainment. Nevertheless, several studies have shown that professional musicians and music students are often affected by work-related burdens. These are closely related to stress and anxiety. OBJECTIVE: Scrutinizing specific health strains and work attitudes of music students during their freshman year of high-level education. METHODS: One hundred five students in three Swiss music universities were part of a longitudinal study using standardized assessment questionnaires. Before and after their first study year, some custom-made questionnaires designed to fit the particular work environment of musicians were used together with the already validated inquiry instruments. RESULTS: Fatigue, depression, and stage fright increased significantly. CONCLUSIONS: Our results indicate more study is needed and attempts should be made to minimize the stress level, improve the students’ ability to cope with stress, and otherwise reduce their risk for injury. This appears particularly important considering the long-term negative effects of stressors on individuals’ health as revealed by modern research.

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