Pensato: A Virtual Reality Framework for Musical Performance

<p>This thesis presents the design for a method of controlling music software for live performance by utilising virtual reality (VR) technologies. By analysing the performance methods of artists that use either physical or gestural methods for controlling music, it is apparent that physical limitations of musical input devices can hamper the creative process involved in authoring an interface for a performance. This thesis proposes the use of VR technologies as a central foundation for authoring a unique workspace where a performance interface can be both constructed and performed with. Through a number of design experiments using a variety of gestural input technologies, the relationship between a musical performer, interface, and audience was analysed. The final proposed design of a VR interface for musical performance focuses on providing the performer with objects that can be directly manipulated with physical gestures performed by touching virtual controls. By utilising the strengths provided by VR, a performer can learn how to effectively operate their performance environment through the use of spatial awareness provided by VR stereoscopic rendering and hand tracking, as well as allowing for the construction of unique interfaces that are not limited by physical hardware constraints. This thesis also presents a software framework for connecting together multiple musical devices within a single performance ecosystem that can all be directly controlled from a single VR space. The final outcome of this research is a shared musical environment that is designed to foster closer connections between an audience, a performer and a performance interface into a coherent and appealing experience for all.</p>

Pensato: A Virtual Reality Framework for Musical Performance

<p>This thesis presents the design for a method of controlling music software for live performance by utilising virtual reality (VR) technologies. By analysing the performance methods of artists that use either physical or gestural methods for controlling music, it is apparent that physical limitations of musical input devices can hamper the creative process involved in authoring an interface for a performance. This thesis proposes the use of VR technologies as a central foundation for authoring a unique workspace where a performance interface can be both constructed and performed with. Through a number of design experiments using a variety of gestural input technologies, the relationship between a musical performer, interface, and audience was analysed. The final proposed design of a VR interface for musical performance focuses on providing the performer with objects that can be directly manipulated with physical gestures performed by touching virtual controls. By utilising the strengths provided by VR, a performer can learn how to effectively operate their performance environment through the use of spatial awareness provided by VR stereoscopic rendering and hand tracking, as well as allowing for the construction of unique interfaces that are not limited by physical hardware constraints. This thesis also presents a software framework for connecting together multiple musical devices within a single performance ecosystem that can all be directly controlled from a single VR space. The final outcome of this research is a shared musical environment that is designed to foster closer connections between an audience, a performer and a performance interface into a coherent and appealing experience for all.</p>

PENGGUNAAN SOFTWARE ENCORE DALAM MENULIS ARANSEMEN LAGU BAGI GURU SENI BUDAYA SMP DI KABUPATEN SERANG

One of the obstacles faced by art and culture teachers who do not have a background in music art is in teaching arrangement material, especially in terms of writing block notation, as well as in sounding the results of the arrangement. The purpose of this study is to introduce the existence of various music software which is expected to help art and culture teachers in writing and reading notation as well as being able to listen to the results of their arrangements. The research method in this study uses Class Action Research or classroom action research with a qualitative approach, so that teachers get an overview of implementing it in their respective classes step by step. Utilization of this Encore software can solve the problems faced by middle school arts and culture teachers, especially in Serang Regency in teaching the art of music, especially in arrangement material. ABSTRAKSalah satu kendala yang dihadapi oleh guru seni budaya yang bukan berlatarbelakang seni musik adalah dalam mengajarkan materi aransemen terutama dalam hal penulisan notasi balok, sekaligus dalam hal membunyikan hasil aransemennya. Tujuan dari penelitian ini adalah memperkenalkan keberadaan berbagai software musik yang diharapkan dapat membantu para guru seni budaya dalam menulis dan membaca notasi sekaligus dapat mendengarkan hasil aransemennya. Metode penelitian pada penelitian ini menggunakan Class Action Research atau penelitian tindakan kelas dengan pendekatan kualitatif, agar para guru memperoleh gambaran dalam menerapkan di kelas masing-masing secara tahap demi tahap. Pemanfaatan software Encore ini dapat memecahkan masalah yang dihadapi para guru seni budaya SMP khususnya di Kabupaten Serang dalam mengajar seni musik terutama dalam materi aransemen..

Sibelius as a Tool to Improve Student’s Ability of Making Counterpoint Melody

As a subject for music students, counterpoint contributes to the ability to create a melody. The melody in counterpoint usually consists of two or more layers. In order to make a counterpoint melody, students must acknowledge the rules to construct the counterpoint melody. A good counterpoint melody involves two important things: the flow of the melody in a vertical and horizontal in vertical line (interval) and the musical texture of the melody. As a beginner in learning counterpoint, writing a counterpoint melody might be difficult at first. Learning counterpoint investigation was found that students spent a lot of their time following the counterpoint rules. They particularly did not focus on the musical sense of the counterpoint melody causing the melody loses its musical senses. Sibelius was used here as a tool to solve the problem. Sibelius is a music software which commonly used in writing musical scores. This study examined Sibelius in making a counterpoint melody in learning counterpoint. The data were gathered through observation and interviews with students during learning counterpoint course. The result showed that by using Sibelius, making counterpoint melody more efficient, and it helped student not only focused on the counterpoint rules but also the musical senses of the counterpoint melody. Furthermore, students also showed the improvement of their skills in making a counterpoint melody.

INNV-42. ACTIVE VS RECEPTIVE MUSIC LISTENING THERAPY IN BREAST CANCER PATIENTS USING ARMCAN

Secondary brain tumors and neurocognitive damage from radiation or chemotherapy are often the commonest neuro-oncological problems in cancer. Breast cancer is the most commonly diagnosed cancer in women, with approximately 2 million women diagnosed in 2018.1 The 10-year survival rate for women diagnosed with breast cancer is 78% (World Cancer Research Fund, 2018). Although the 10-year survival rate is high, women who undergo chemotherapy can experience neurocognitive impairment resulting in significant effects of their cognitive functioning.2 Chemo related dysfunction is known as “chemobrain” or “chemofog.” Chemobrain can result in difficulty with attention, daily activities of living, and memory. This impacts people’s livelihoods and affects their general well-being. Current research on the topic of chemobrain in breast cancer survivors is minimal. However, this study aims to reduce the post-chemotherapy outcomes of chemobrain through the use of interactive versus receptive music. “Brain Fog” or chemobrain is the basis of significant neurological morbidities in the breast cancer population. It causes difficulty in people being able to even carry out activities of daily living. We have developed a prototype “ARMCan—a music software application to help breast cancer patients with “brain fog.” We are conducting a pilot feasibility study to beta test this interactive application which will promote executive function recovery in breast cancer patients with chemobrain.

Proposal of Activities to Unlock Creativity Using Reaper Software

"Using technology in a creative-based approach to music learning is beneficial when we refer to the development of creativity as the finality of artistic musical education. In its permanent movement, we notice that the educational process progressively removes everything that becomes dysfunctional outdated. Therefore, both through the act of teaching learning and through the act of evaluation, as the blockages of any nature that stand in the way of creativity are discovered, they can be diminished. This article proposes musical activities that use Reaper software, which provides a good environment for grooming students with aesthetic sensibilities that should always accompany technical knowledge. Moreover, this article serves as a starting point for teachers hoping to develop creativity through music software. Keywords: Reaper, software, creativity, music education. "

Producing the self: Digitisation, music-making and subjectivity

This article demonstrates how the availability of music platforms, the guidance of online tutorials and user-friendly affordances of software interfaces have democratised the making of electronic music. Software users traverse new forms of technology as part of their social and cultural selves, the confluence of musical affiliation and specific social media platforms supporting the production and exploration of identity. Case studies of women and non-binary identifying music-makers highlight digitisation’s role in enabling creative agency. Music emerging through these processes evidences a stylistic fluidity that indicates its means of construction, using the sampling, pitch, and time-stretching capabilities of the digital audio workstation. Digitisation provides the inspiration of a world of music and the means and knowledge of how to make it, allowing musical, personal and collective subjectivities to be explored.