scholarly journals Musical Totem: A Collaborative Composition Methodology During the Covid-19 Pandemic

2021 ◽  
Keyword(s):  
Learning Community ◽  
Research Network ◽  
Collaborative Group ◽  
Shared Experiences ◽  
Music Making ◽  
Global Pandemic ◽  
Collaborative Working ◽  
Collaborative Music ◽  
The Rich ◽  
Exquisite Corpse

As part of the Action Research Network of the Americas, the Musical Learning Community is a collaborative group, founded during the COVID-19 global pandemic, that has brought together musicians, artists, and educators to generate shared experiences. As members of this community, we explore new ways for collaborative music-making. Through creative, cultural, and conceptual influences, the idea of the Musical Totem emerged as a collaborative music composition methodology to transcend geographical distancing. We sought interpretative freedom by adopting methods of the surrealist technique Cadavre Exquis (Exquisite Corpse) while relying on the rich concept of totems to find thematic material and set compositional parameters. The process was carried out using arts-based and autoethnographic research approaches, which provided insights into our creative musical responses and remote collaborative working processes. This endeavor showed us that symbolism can provide compositional and performative challenges and that, as a methodology, the Musical Totem can create freedom and constraints depending on the musician, the conceptual influences, and the instrumentation. We also learned that engaging in a collaborative music-making process led to increased community bonding through shared creative expression.

Distributed Participatory Design: The challenges of designing with physically disabled musicians during a global pandemic

2021 ◽  
Vol 26 (2) ◽  
pp. 219-229
Author(s):  
Franziska Schroeder ◽  
Alex Lucas
Keyword(s):  
Northern Ireland ◽  
Lived Experience ◽  
Participatory Design ◽  
Music Technology ◽  
Digital Medium ◽  
Banking Services ◽  
Research Activities ◽  
Music Making ◽  
Global Pandemic ◽  
The Impact

The global COVID-19 pandemic has been an extraordinary situation. Social distancing has impacted the vast majority of people, reorganising society, physically separating us from friends, family and colleagues. Collectively we found ourselves in a distributed state, reliant upon digital technologies to maintain social and professional connections. Some activities can translate unabated to a digital medium, with benefits, such as the convenience inherent in many online shopping and banking services. Other activities, particularly those which are socially engaged, including inclusive music-making or design, may need to be re-framed and re-thought due to the absence of in-person contact.In Northern Ireland, the Performance Without Barriers (PwB) research group works with disabled artists from the Drake Music Project Northern Ireland (DMNI) to identify ways in which technology can remove access barriers to music-making. Since disabled people are experts in their unique lived experience of disability, they must be involved in the design process, an approach known as participatory design. At the end of 2020, many of us are still adjusting to the new normal, only beginning to understand the impact of distributed digital living. In this article, we examine how the socially engaged work of PwB has been affected, changed and adapted during the pandemic throughout 2019 to 2020, expanding ideas of distributed creativity to the notion of distributed design. The authors formalise the concept of socially engaged distributed participatory design, an approach that classifies PwB’s current research activities in the area of accessible music technology design and improvised musicking. Consideration is given to the impact the notion of ‘distribution’ has on degrees of participation.

Epilogue

2021 ◽  
pp. 158-162
Keyword(s):  
Teaching And Learning ◽  
Music Teachers ◽  
Emotional Health ◽  
Music Teaching ◽  
Social Emotional ◽  
Music Making ◽  
The Arts ◽  
Global Pandemic ◽  
The One ◽  
Music And The Arts

The epilogue addresses the observations of the editors and authors of this volume regarding their observations of the pedagogical shifts needed to address music teaching and learning during a global pandemic such as the one unleashed by Covid-19. When a great deal of musicking, teaching, and learning needed to happen remotely, having access to technology and understanding how to employ it for supporting creative and collaborative music making and remote instruction was of paramount importance for many music teachers and musicians. Yet for too many students and school districts around the globe, the digital divide heightened the lack of educational equity in countless communities. While many districts merely focused on content delivery though whatever digital or non-digital means were available, the authors noted the crucial role that a focus on social-emotional learning plays in the lives of our students, with a particular emphasis on how music and the arts can support our emotional health and sense of connection.

State Feminism and Political Representation

2007 ◽  
Vol 40 (2) ◽  
pp. 537-538
Author(s):  
Lois Harder
Keyword(s):  
Public Administration ◽  
Political Representation ◽  
Political Process ◽  
Research Network ◽  
Cambridge University ◽  
Representation Of Women ◽  
State Feminism ◽  
The Us ◽  
The Rich ◽  
Women's Policy Agencies

State Feminism and Political Representation, Joni Lovenduski, ed., Cambridge: Cambridge University Press, 2005, pp. xix, 315.Lovenduski's edited volume is an 11-country (10 western European countries and the US), analysis of the effects of women's policy agencies on efforts to increase the representation of women in the political process—in legislatures, on party lists and in public administration. The book is the product of a 10-year collaboration among scholars involved in the Research Network on Gender Politics and the State and it exhibits the rich rewards that such a lengthy and involved affiliation among like-minded scholars can produce.

Crowdsourcing the Corpus: Using Collective Intelligence as a Method for Composition

2011 ◽  
Vol 21 ◽  
pp. 25-28 ◽  
Author(s):  
David Plans Casal
Keyword(s):  
Public Participation ◽  
Spectral Decomposition ◽  
Collective Intelligence ◽  
Collaborative Practice ◽  
Public Access ◽  
Human Intelligence ◽  
Practical Application ◽  
Music Making ◽  
On Line ◽  
Collaborative Music

The author describes the practical application of crowdsourcing human intelligence as a form of collaborative music-making. Spectral decomposition of an original recording is used to derive components from original audio, and these are then offered as on-line tasks in which contributors are asked to record their own interpretations of each component. Components are then gathered in order to re-synthesize the original corpus, which is used to build an improvisation system. The author uses Bernard Stiegler's ecology of attention paradigm to situate crowdsourcing as an emerging form of public participation in music-making and Glenn Gould's ideas on performance and public access to position this participation as an act of composition. The work is offered as an illustration of the author's individual process as a composer for finding new notational pathways for collaborative practice.

Guitars have disabilities: exploring guitar adaptations for an adolescent with Down syndrome

2014 ◽  
Vol 31 (3) ◽  
pp. 343-357 ◽  
Author(s):  
Adam Patrick Bell
Keyword(s):  
Down Syndrome ◽  
Learning Community ◽  
Structured Interview ◽  
Social Model ◽  
Social Model Of Disability ◽  
Instrumental Case Study ◽  
Music Making ◽  
The Social ◽  
Field Notes

The guitar has a high value in cultural capital and we are immersed in a culture in which the guitar is the predominant vehicle of music-making. Given the guitar's mass popularity, it follows that the guitar-learning community is vast and diverse. Subscribing to the social model of disability, I problematise the guitar as being disabled and conducted an instrumental case study using the ethnographic tools of video-based observation, field notes and a semi-structured interview to chronicle the experience of teaching an adolescent with Down syndrome how to play the guitar. Different approaches to enabling the guitar are examined including open-tuning, standard tuning and a modified two-string guitar. Findings discuss the importance of the guitar to the participant as a percussive and rhythmic instrument and additionally as support for singing in the context of jamming.

scholarly journals Lectures and collaborative working improves the performance of medical students

2021 ◽  
Vol 45 (1) ◽  
pp. 18-23
Author(s):  
Luís Henrique Montrezor
Keyword(s):  
Medical Students ◽  
Group Work ◽  
Collaborative Work ◽  
Collaborative Group ◽  
Digestive Physiology ◽  
Collaborative Working ◽  
Group Members ◽  
Collaborative Group Work

Snapshot: The use of short lecture classes associated with collaborative group work, which involved the elaboration of a portfolio, with well-defined modalities and objectives, improved the students’ grades and decreased the percentage of incorrect answers on tests. Most of the students believed that the collaborative work contributed to their learning about digestive physiology, and most of them reported being comfortable working in their groups, without feeling dominated by other group members.

scholarly journals Redstone Jammin’: Conversational Analysis from a Collaborative Music-Making Activity in Minecraft

2020 ◽  
Vol 13 (2-3) ◽  
Author(s):  
Kenneth Y T Lim ◽  
Lionel J T Lim
Keyword(s):  
Introductory Physics ◽  
Collaborative Group ◽  
Social Discourse ◽  
Conversational Analysis ◽  
Music Making ◽  
The Social ◽  
Diverse Backgrounds ◽  
Immersive Environment ◽  
Expert Novice

This paper describes an intervention in which the immersive environment of Minecraft was used for collaborative learning in creating musical pieces with the use of a metaphor of introductory physics circuitry. This study explored the affordances of Minecraft, of how learning within a collaborative group can happen differently, with each participant having diverse backgrounds both in music and in Minecraft and how they may use this to their advantage. Laurillard’s (1999, 2002) Conversational Framework was used as a basis in exploring and examining the social discourse between the participants to reflect how the distinct types of effective communication between the “expert” and the “novice” will conflate when both roles are not restricted to a sole individual, and analyses the behavior of the participants when the role of the expert, novice, or both simultaneously, are adopted in the music-making process.

Music Making on YouTube

2017 ◽  
Author(s):  
Christopher Cayari
Keyword(s):  
Small Groups ◽  
Music Videos ◽  
The Internet ◽  
Time And Space ◽  
Music Making ◽  
Amateur Musicians ◽  
Musical Ensembles ◽  
Collaborative Music

People are making music at their leisure and publishing it online. YouTube has provided a space for musicians to publish multitrack music videos, join collective musical ensembles, and collaboratively perform with others. This chapter explores three trends of how musicians are creating music videos and forming virtual ensembles and music making communities: they are showing off their skills through music videos; they are creating videos to join large collective multitrack ensembles of hundreds or even thousands of others; and they are actively collaborating with small groups to create mediated performances. Collective and collaborative music making on the Internet are not only happening among grassroots amateur musicians, but also through educational and commercial institutions. Music making on the Internet allows for global interactions and collaboration, where people come together and enjoy music recreationally, unbound by time and space.

Auditory Imagination

2019 ◽  
pp. 77-104
Author(s):  
Daniel A. Schmicking
Keyword(s):  
Music Making ◽  
Phenomenological Perspective ◽  
Collaborative Music

Daniel Schmicking explores auditory imagination from a phenomenological perspective. He starts with an outline of phenomenological tools building mainly on Husserl’s thinking, and then sets out to analyze the structure of auditory imagination and its function in collaborative music-making. In his account of the workings of auditory imagination, Schmicking challenges the traditional Western notion of imagination as something private. A central part of Schmicking’s account of auditory imagination comprises a distinction between pure and weak forms of imagination, and this distinction is further used to explore how imagination contributes to other intentional forms, such as perception and memory.

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