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Relevant bibliographies by topics / The Plimsouls (musical group)

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Academic literature on the topic 'The Plimsouls (musical group)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "The Plimsouls (musical group)"

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Deutsch, Ralph. "Note group selectable musical effects in an electronic musical instrument." Journal of the Acoustical Society of America 78, no. 4 (October 1985): 1455. http://dx.doi.org/10.1121/1.392817.

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Sawyer, R. Keith. "Group creativity: musical performance and collaboration." Psychology of Music 34, no. 2 (April 2006): 148–65. http://dx.doi.org/10.1177/0305735606061850.

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Bispham, John C. "Music's “design features”: Musical motivation, musical pulse, and musical pitch." Musicae Scientiae 13, no. 2_suppl (September 2009): 41–61. http://dx.doi.org/10.1177/1029864909013002041.

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This paper focuses on the question of what music is, attempting to describe those features of music that generically distinguish it from other forms of animal and human communication — music's “design features”. The author suggests that music is generically inspired by musical motivation — an intrinsic motivation to share convergent intersubjective endstates - and is universally identifiable by the presence of musical pulse — a maintained and volitionally controlled attentional pulse — and/or musical pitch — a system for maintaining certain relationships between pitches. As such music's design features are viewed as providing an interpersonal framework for synchronous and group affective interaction. The implications of this approach to an evolutionary perspective on music and on arguments of the primary evolutionary functionality of musical abilities in human evolution are discussed.

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Burland, Karen, and Jane W. Davidson. "Investigating Social Processes in Group Musical Composition." Research Studies in Music Education 16, no. 1 (June 2001): 46–56. http://dx.doi.org/10.1177/1321103x010160010901.

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Towse, Esme. "Group Analysis and Improvisation: A Musical Perspective." British Journal of Music Therapy 11, no. 2 (December 1997): 51–55. http://dx.doi.org/10.1177/135945759701100204.

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The writings of S. H. Foulkes, founder of group analysis, abound with musical imagery. This paper describes how musical experience has contributed to the author's understanding of aspects of group analytic theory and practice, and is an attempt to put some of that understanding back into the development of a model of group music therapy.

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Elliott, David. "Assessing Musical Performance." British Journal of Music Education 4, no. 2 (July 1987): 157–84. http://dx.doi.org/10.1017/s026505170000591x.

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The arts pose some particular problems in the field of assessment. In the study reported here, we examined some of the problems performance presents to assessors especially in the context of the GCSE examination, and with reference to the model for assessment given in the APU Report on Aesthetic Development.A small-scale experiment was devised with the aim of investigating the reliability and different perceptions of judges of musical performances. As well as assessment by professional musicians, we investigated self assessment and assessment by peer-group members. There was a generally high measure of agreement between judges, both in terms of their individual comments and the rank order they each devised. This suggests that there were some objective criteria at work in their assessments. Self-assessments proved very realistic, although those of the peer-group were slightly less so.

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Slayton, Matthew, Adam S. Bristol, and Indre V. Viskontas. "Factors affecting group creativity: lessons from musical ensembles." Current Opinion in Behavioral Sciences 27 (June 2019): 169–74. http://dx.doi.org/10.1016/j.cobeha.2018.12.013.

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Kocaj, Agata, and Izabela Krasińska. "Musical education from the perspective "Musical news" (1925-1926)." Edukacja Muzyczna 15 (2020): 363–77. http://dx.doi.org/10.16926/em.2020.15.20.

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In Poland, over a hundred music magazines appeared in the interwar period. They were divided into several categories: subject and methodological, social and cultural music press, music and li- turgical magazines, regional music periodicals, as well as musicological and popular science mag- azines. The final group includes the subject of this article, “Wiadomości Muzyczne” (1925–1926), edited by the music collector and journalist Edward Wrocki. The article is the first attempt at a monograph elaboration of this periodical, both in terms of the formal and publishing aspects and its content. However, it focuses mainly on educational content, training and professional develop- ment of musicians and music and singing teachers in various types of schools (conservatories and music academies, primary and secondary schools, courses).

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Gaggioli, Andrea, Alice Chirico, Elvis Mazzoni, Luca Milani, and Giuseppe Riva. "Networked Flow in musical bands." Psychology of Music 45, no. 2 (September 21, 2016): 283–97. http://dx.doi.org/10.1177/0305735616665003.

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This study aimed at using the Networked Flow (NF) model to investigate group collaboration in the context of musical bands. We analyzed the relationship between flow, social presence, structural dynamics and performance as they related to 15 bands in a rehearsal room. Flow was measured using the Flow State Scale; social presence was assessed with the Networked Minds Social Presence scale; and interpersonal communication structure (exchange of gazes and verbal orders) was assessed by means of Social Network Analysis (SNA). In addition, we considered: (a) a subjective measure of performance, rated by each member on an ad-hoc questionnaire; and (b) an expert rating of performance, based on the evaluation of audio-video recordings of each group. Findings showed the multifaceted nature of the relationship between social presence and flow. Group flow score was a significant predictor of self-reported performance, but not of expert-evaluated performance. Moreover, several correlations were found between flow, social presence and patterns of interpersonal coordination (both implicit and explicit). Specifically, SNA reveals that flow was positively related to exchanges of gazes and negatively associated with exchanges of orders. Overall, this study contributes to further elucidating the complex interplay between group flow and intersubjective dynamics in music collaboration.

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Kim, Jin Hyun, Andres Reifgerst, and Marta Rizzonelli. "Musical Social Entrainment." Music & Science 2 (January 1, 2019): 205920431984899. http://dx.doi.org/10.1177/2059204319848991.

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Over the last decade, the concept of entrainment—emerging from the fields of physics and biology—has grown as a tool for investigating rhythmic adjustments among musicians, and between different groups of musicians. When combined with methods of audio data analysis, this approach has benefits for the assessment of musical behavior, previously limited to largely descriptive ethnomusicological research based on ethnographic data collected through field study. However, musical behavior is not only biophysically determined, but also a highly social activity. Therefore, this article focuses on “social entrainment”—a concept coined by the social scientists Joseph E. McGrath and Janice R. Kelly in 1986 which recently has been taken up in music research. Relating this concept to certain approaches in relevant current empirical studies on interpersonal coordination, the authors develop their own categories of social behavior, which are broader than those of social entrainment but can accordingly be applied to the social entrainment that may occur in musical practices. These categories range from basic behaviors that do not involve social cognition but are meaningful to interacting individuals and groups, to high-order social behaviors that require collective intentionality and can lead to sophisticated interaction involving music-specific phenomena such as a “groove.” Consequently, a concept of entrainment which goes beyond both an adaptation of the established concept of physical and biological entrainment and McGrath and Kelly’s original concept of social entrainment is proposed: “musical social entrainment.” The authors use this term to refer to intra-individual, inter-individual, intra-group, and inter-group entrainment to exogenous musical rhythms—including the rhythms of other musically acting individuals and groups—embedded in a social context and contributing to sociality. Finally, reviewing selected studies relevant to musical social entrainment, the authors discuss problems and open questions concerning music-related entrainment research, and potential contributions in the future of entrainment studies in general.

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Dissertations / Theses on the topic "The Plimsouls (musical group)"

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Rabinowitch, Tal-Chen. "Musical group interaction : mechanisms and effects." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648235.

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Waugh, Deborah. "Nexus : integrating musical traditions /." Thesis, View the Table of Contents & Abstract, 2007. http://sunzi.lib.hku.hk/hkuto/record/B37120335.

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Feldmeier, Mark Christopher 1974. "Large group musical interaction using disposable wireless motion sensors." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/33547.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2003.
Includes bibliographical references (p. 113-114).
One of the difficulties in interactive music and entertainment is creating environments that reflect and react to the collective activity of groups with tens, hundreds, or even thousands of participants. Generating content on this scale involves many challenges. For example, how is the individual granted low latency control and a sense of causality, while still allowing for information retrieval from all participants so that the environment responds to the behavior of the entire group? These issues are particularly pertinent in the area of interactive dance. To address these issues, a low-cost, wireless motion sensor has been developed. The sensor is inexpensive enough to be considered disposable, allowing it to be given away to participants at large dance events, enabling the dancers to participate concurrently in a realtime, interactive musical performance. The sensors are either worn or held by participants and transmit a short RF pulse when accelerated past a certain threshold. The RF pulses are received by a base station and analyzed to detect rhythmic features and estimate the general activity level of the group. These data are then used to generate music that can either lead or follow the participants' actions, thereby tightening the feedback loop between music and dancer. Multiple tests of the system have been conducted, with groups ranging from fifteen to 200 participants. Results of these tests show the viability of the sensors as a large group interaction tool. Participants found the interface intuitive to use, effectively controlling such aspects of the music as style, tempo, voicing, and filter parameters. These tests also demonstrate the system's ability to detect both the activity level and dominant tempo of the participants' motions, and give considerable insight into methods of mapping these data to musical parameters that give participants direct feedback as to their current state. Furthermore, it is shown that participants, if given this direct feedback, will synchronize their actions and increase in activity level, creating a mutually coherent and pleasing outcome.
by Mark Christopher Feldmeier.
S.M.

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Hsieh, Su-Ching. "Cognition and musical improvisation in individual and group contexts." Thesis, University College London (University of London), 2009. http://discovery.ucl.ac.uk/10019875/.

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The aims of this research are to investigate how improvisatory skills develop in individuals and teams. It focuses upon the effect of musical expertise in different musical genres on the development of improvisatory skills. Multi methods were applied in the research and classified into four phases. The first phase involved a self-case study implementing deliberate self regulated practice based on a planned sequential model; a) sight-reading; b) memorising; and c) improvising; over 8 weeks in a trained classical musician. Additionally, the self-case study used two commissioned musical compositions matched in length, harmony and structure, one in the classical genre the other in jazz. In the 2nd phase, semi-structured interviews were conducted with novice and expert improvisers. The final phases included experiments studying sightreading, memorising and improvising as a duo and observations and interviews relating to ensemble rehearsals and improvisation with cross genre compositions. The findings suggest that learning to improvise is frustrating and anxiety provoking. Seven elements were found to be important in acquiring musical skills and domain knowledge acquisition: physiological adaptation and developing reading music skills; establishing auditory schemata; automaticity; use of memorisation strategies; analytic strategy application; and improvising to a coherent musical structure. The findings also show that sight-reading and improvising share similarities in their characteristics when learning to improvise as a duo. Issues such as communicating to the audience, performance identity and connecting to the context are essential in the duo improvisation performance. The findings indicate that a 'concept of break-points' (Poole, 1983) take place during the latter stage of the ensemble improvisation process where changes occur across all three elements, musical structure, social structure and communicative behavior. (Bastien and Hostager, 2002:21) Factors such as leadership, group member characteristic, resource, information flow, the creative environment and collateral structure can influence the quality of group improvisation performance.

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Suner, Sedef. "Preschool Children As A User Group: Design Considerations For Musical Toys." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614074/index.pdf.

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Early musical experiences are very important for social, cognitive and physical development of children, as well as their future musical competences. Preschools present this environment with various musical materials. However, suitability of these materials in terms of developmental needs of children and educational goals is questionable. The purpose of this study is to transfer knowledge from relevant literature to design considerations of musical toys for preschool children. Literature review was conducted to determine various aspects to be considered while designing musical toys by compiling knowledge from developmental psychology and pedagogy literature
governments

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Weinberg, Gil 1967. "Interconnected musical networks : bringing expression and thoughtfulness to collaborative group playing." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/28287.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2003.
Includes bibliographical references (p. 211-219).
(cont.) In order to addressee the latter challenge I have decided to employ the digital network--a promising candidate for bringing a unique added value to the musical experience of collaborative group playing. I have chosen to address both challenges by embedding cognitive and educational concepts in newly designed interconnect instruments and applications, which led to the development of a number of such Interconnected Musical Networks (IMNs)--live performance systems that allow players to influence, share, and shape each other's music in real-time. In my thesis I discuss the concepts, motivations, and aesthetics of IMNs and review a number of historical and current technological landmarks that led the way to the development of the field. I then suggest a comprehensive theoretical framework for artistic interdependency, based on which I developed a set of instruments and activities in an effort to turn IMNs into an expressive and intuitive art form that provides meaningful learning experiences, engaging collaborative interactions, and worthy music.
Music today is more ubiquitous, accessible, and democratized than ever. Thanks to technologies such as high-end home studios, audio compression, and digital distribution, music now surrounds us in everyday life, almost every piece of music is a few minutes of download away, and almost any western musician, novice or expert, can compose, perform and distribute their music directly to their listeners from their home studios. But at the same time these technologies lead to some concerning social effects on the culture of consuming and creating music. Although music is available for more people, in more locations, and for longer periods of time, most listeners experience it in an incidental, unengaged, or utilitarian manner. On the creation side, home studios promote private and isolated practice of music making where hardly any musical instruments or even musicians are needed, and where the value of live group interaction is marginal. My thesis work attempts to use technology to address these same concerning effects that it had created by developing tools and applications that would address two main challenges: 1. Facilitating engaged and thoughtful as well as intuitive and expressive musical experiences for novices and children 2. Enhancing the inherent social attributes of music making by connecting to and intensifying the roots of music as a collaborative socialritual. My approach for addressing the first challenge is to study and model music cognition and education theories and to design algorithms that would bridge between the thoughtful and the expressive, allowing novices and children an access to meaningful and engaging musical experiences.
by Gil Weinberg.
Ph.D.

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Martins, Áudrea da Costa. "Linhas, vozes e tracks : a textura na composição musical de crianças." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/36016.

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Esta pesquisa aborda a composição musical coletiva, acústica e eletrônica, de estudantes de música com idades entre 10 e 12 anos. Tem como objetivo analisar as diversas manifestações envolvendo a textura musical, destacando o modo como se vinculam à noção de tempo e aos processos de inferência que subsidiam a atividade da criação musical. Os sujeitos são 16 alunos regulares de duas escolas públicas, que frequentaram oficinas de composição ministradas pela pesquisadora. A concepção do estudo situa a pesquisa na área da Epistemologia Genética de Jean Piaget, cujo corpo teórico dá sustentação à investigação na área da Educação Musical. Os dados foram coletados no período de novembro de 2010 a abril de 2011, mediante a inserção da pesquisadora no ambiente de trabalho, onde observou e realizou entrevistas com base no referencial teórico adotado. A tomada de decisões durante o processo composicional encontra apoio nas inferências e nas noções de sucessão, duração e simultaneidade, inerentes à noção de tempo. Apesar das diferenças no que diz respeito à abordagem composicional e nos resultados sonoros dos produtos musicais, as manifestações texturais presentes nas peças acústicas e eletrônicas apresentam similaridades em muitos aspectos. A textura musical, importante dimensão estrutural da música, é parâmetro fundamental no exercício da composição musical, oferecendo ampla margem para experimentação e expressão criativa de seus autores. Sendo assim, este trabalho poderá suscitar novas abordagens frente à prática composicional em grupo na sala aula, contribuindo para uma melhor compreensão da produção musical dos estudantes.
The present research is an approach to acoustic and electronic collective musical composition by music students aged between 10 and 12. It aims to analyze the several demonstrations which involve musical texture, pointing out the way those are attached to the conception of time and the processes of inference which grant musical creation activity. The subject-matter is composed by 16 regular students from public schools who attended workshop on composition guided by the researcher. The conception of such study places the research in the area of Jean Piaget´s Genetic Epistemology whose theoretical body gives support to investigation in Musical Education area. The data have been collected during the period of November 2010 to April 2011 in the researcher´s work environment in which she performed interviews based on the adopted theoretical reference. The decision-making during the compositional process meets support in the inferences and in the concepts of sequence, length and simultaneousness which are inherent in time concept. In spite of the differences as to the compositional approach and the sound results of the musical products, the textural manifestation in the acoustic and electronic pieces proved to be similar in many aspects. The musical texture, important structural dimension in music, is a fundamental parameter in the exercise of composition. It offers a wide rank for the experimenting and creating expression of its authors. So, this work can bring new approaches in the compositional practice in group in the classroom which will provide a better comprehension in the student’s musical production.

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Martin, Christopher Alan. "‘We Feed Off Each Other’: Embodiment, Phenomenology and Listener Receptivity of Nirvana’s In Utero." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1143406900.

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Beegle, Amy C. "Children at work in their musical expression : a classroom-based study of small group improvisation /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11204.

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Wallace, Matthew R. "Holding back the flood Thom Yorke, Radiohead, and post-industrial capitalism /." [Denver, Colo.] : Regis University, 2006. http://165.236.235.140/lib/MWallace2007.pdf.

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Senior Honors Thesis--Regis University, Denver, Colo., 2007.
"May 2006." Date of submission on Certificate of Authorship: 30 April 2007. Title from PDF title page (viewed June 26, 2007). Includes bibliographical references.

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Books on the topic "The Plimsouls (musical group)"

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Murmur. New York: Continuum, 2005.

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Janet, Mills. Group tests of musical abilities: Teacher's guide. Windsor: NFER-Nelson, 1988.

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Mick, Stevenson, ed. The illustrated collector's guide to Motörhead. Burlington, Ont: Collector's Guide Pub., 1994.

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Higgins, Lee. Free to be musical: Group improvisation in music. Lanham, Md: Rowman & Littlefield Education, 2010.

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Chao hang K-POP nü tuan zhao ji zui ju ren qi quan xin pan dian: 2017 Han'guo nü tuan xin shi li. Taibei Shi: Hui zhan wen hua shi ye you xian gong si, 2017.

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group), Led Zeppelin (Musical, ed. [Led Zeppelin IV]. New York, NY: Continuum, 2005.

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Hewitt, Alan. Opening the musical box: A Genesis chronicle. London: Firefly, 2000.

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Shirley, Ian. Meet the Residents: America's most eccentric band! Wembley, Eng: SAF, 1993.

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Roesgen, Jeffrey T. Rum, sodomy, and the lash. New York: Continuum, 2008.

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Jachia, Paolo. I Baustelle mistici dell'Occidente: Un'assurda specie di preghiera, che sembra quasi amore. Milano: Àncora, 2011.

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Book chapters on the topic "The Plimsouls (musical group)"

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Nedela, Mary R. "Musical Emotions." In The Group Therapist's Notebook, 73–81. 2nd edition. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315457055-12.

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Odena, Oscar. "Developing secondary students’ creativity through guided group composition and performance." In Musical Creativity Revisited, 47–64. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: SEMPRE studies in the psychology of music: Routledge, 2018. http://dx.doi.org/10.4324/9781315464619-4.

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Cartwright, Phillip, and Kadeshah Swearing. "Group Work: Application and Performance Effectiveness in Musical Ensembles." In New Leadership in Strategy and Communication, 329–50. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19681-3_20.

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Diment, Aleksandr, Padmanabhan Rajan, Toni Heittola, and Tuomas Virtanen. "Group Delay Function from All-Pole Models for Musical Instrument Recognition." In Lecture Notes in Computer Science, 606–18. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-12976-1_37.

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Thomas, Kyle A. "Laying Down the RUG: Andrew Lloyd Webber, the Really Useful Group, and Musical Theatre in a Global Economy." In The Palgrave Handbook of Musical Theatre Producers, 325–32. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-43308-4_32.

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Hook, Julian. "Chapter Nine. Some Musical Groups: Selected Applications of Group Theory in Music." In Diffusion, Quantum Theory, and Radically Elementary Mathematics, edited by William G. Faris, 209–28. Princeton: Princeton University Press, 2006. http://dx.doi.org/10.1515/9781400865253.209.

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Borgo, David. "Sync or Swarm: Musical Improvisation and the Complex Dynamics of Group Creativity." In Algebra, Meaning, and Computation, 1–24. Berlin, Heidelberg: Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11780274_1.

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Ho, Jocelyn. "From 2D to 3D: Using Geometry and Group Theory to Model Motivic Structure in Musical Composition." In Mathematics and Computation in Music, 342–45. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-21590-2_29.

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Lloret-Romero, Nuria, Jorge Sastre-Martínez, Crismary Ospina-Gallego, and Stefano Scarani. "Soundcool: A Business Model for Cultural Industries Born Out of a Research Project." In Music as Intangible Cultural Heritage, 41–49. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76882-9_4.

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AbstractSoundcool is a system for musical, sound and visual collaborative creation through mobile phones, tablets and other interfaces. This paper describes the creation of the app from the outset, illustrating not only how the Soundcool® system has been developed from the initial idea to the current reality, but also the evolution that the app has had during this period and how it has become ready to use. The research group in the Universitat Politecnica de Valencia (UPV) has played a key role in the development of the app. We also explain the opportunities for Soundcool in different markets and economic sectors. Last but not least, we describe how the idea has been financed to make it a reality.

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"Musical Group." In The John G. Johnson Collection: A History and Selected Works. Philadelphia Museum of Art, 2018. http://dx.doi.org/10.29075/9780876332764/101984/1.

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Conference papers on the topic "The Plimsouls (musical group)"

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Gorodscy, Fábio, Guilherme Feulo, Nicolas Figueiredo, Paulo Vitor Itaboraí, Roberto Bodo, Rodrigo Borges, and Shayenne Moura. "Computer Music Research Group - IME/USP Report for SBCM 2019." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10443.

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The following report presents some of the ongoing projects that are taking place in the group’s laboratory. One of the noteable characteristics of this group is the extensive research spectrum, the plurality of research areas that are being studied by it’s members, such as Music Information Retrieval, Signal Processing and New Interfaces for Musical Expression.

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Calegario, Filipe, Giordano Cabral, and Geber Ramalho. "MusTIC: Research and Innovation Group on Music, Technology, Interactivity and Creativity." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10441.

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MusTIC is a research and innovation group concerned in conceiving and developing products and experiences that have an impact on music, education, visual and performing arts, and entertainment. In particular, we have been working with tools, methods, and concepts from physical computing, interaction design, and signal processing to build new interfaces for artistic expression, to develop tools for rapid prototyping, and to improve education through robotics and gamification.

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Pimenta, Marcelo, Rodrigo Schramm, and Marcelo Johann. "LCM-Ufrgs Research Group Report: What are we doing in Computer Music?" In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10442.

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Kyogu Lee and Minsu Cho. "Mood Classfication from Musical Audio Using User Group-Dependent Models." In 2011 Tenth International Conference on Machine Learning and Applications (ICMLA 2011). IEEE, 2011. http://dx.doi.org/10.1109/icmla.2011.96.

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Kim, Jaehun, Minz Won, Xavier Serra, and Cynthia C. S. Liem. "Transfer Learning of Artist Group Factors to Musical Genre Classification." In Companion of the The Web Conference 2018. New York, New York, USA: ACM Press, 2018. http://dx.doi.org/10.1145/3184558.3191823.

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Jones, Dympna, Kate Marley, Clare Forshaw, Kate McIntegart, Helen Cunliffe, and Susan Clarkson. "P-140 Musical chairs – more than just an exercise group." In Leading, Learning and Innovating, Hospice UK 2017 National Conference, 22–24 November 2017, Liverpool. British Medical Journal Publishing Group, 2017. http://dx.doi.org/10.1136/bmjspcare-2017-hospice.165.

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Fels, Sidney, and Michael Lyons. "How to design and build new musical interfaces." In SIGGRAPH '15: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2776880.2792703.

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Tavares, Tiago, and Bruno Masiero. "Computer Music research at FEEC/Unicamp: a snapshot of 2019." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10438.

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This is a lab report paper about the state of affairs in the computer music research group at the School of Electrical and Computer Engineering of the University of Campinas (FEEC/Unicamp). This report discusses the people involved in the group, the efforts in teaching and the current research work performed. Last, it provides some discussions on the lessons learned from the past few years and some pointers for future work.

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Schiavoni, Flávio Luiz, André Gomes, Avner De Paulo, Carlos De Souza, Fábio Carvalho, Frederico Resende, Gabriel Lopes Rocha, et al. "Alice: Arts Lab in Interfaces, Computers, and Everything Else - Research report (2019)." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10439.

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Located in the Computer Science Department of the Federal University of São João del-Rei, but not limited to just this space, ALICE has emerged as a research group focused on the development of software, art and technologies for the area of computer music and digital arts. Over the time, ALICE became the laboratory to develop technologies to an artistic group, called Orchidea, focused on the creation of digital art, encompassing students from diverse areas, such as Computer Science, Scenic Arts, Architecture and Music in a transdisciplinary context of art creation. In this way, this work aims to present the various initiatives and proposals carried out by the ALICE, addressing the development of technological products, through the tools implemented and the external tools used for teaching and for artistic creation. In addition, this work describes the current researches that are under development by the members of the groups, also highlighting the development of the digital performance titled “O Chaos das 5” and all the aspects and learning that we have obtained so far with this performance.

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Loureiro, Mauricio. "The First Brazilian Symposium on Computer Music presents Brazilian computer music potentials - Caxambu, MG, 1994." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10463.

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The main objective of this talk is to report on the First Brazilian Symposium on Computer Music, which occurred in August 1994, at the city of Caxambu, Minas Gerais, promoted by the UFMG. The meeting occurred one year after the creation of NUCOM, a group of young academics dedicated to this emerging research field in Brazil gathered as a discussion list. This quite exciting and fancy event at Hotel Gloria in Caxambu was able to imposingly launch the group to the national, as well as to the international academic community. First, due to the excellency of the event’s output and its daring program, that included 34 selected papers by researchers from various institutions from Argentina, Brazil, Canada, Denmark, France, Hong Kong, Mexico, UK, and USA, five lectures an two panels of discussion offered by researchers from the most advanced computer music research centers all over the world. The program also included eight concerts, two of them featuring traditional music, such as Bach, Mozart, and Brazilian music.Six computer music concerts presented 48 selected compositions submitted to the symposium. Second, as the symposium happened as apart of the 14th Congress of Brazilian Computer Science Society (SBC), the excellency of its output was able to attract the interest of SBC’s board of directors. They invited NUCOM to integrate the society as a Special Committee, which are sub-groups of SBC dedicated to specific computer science topics. At the end of the description, this report aims at raising questions, arguments, and debates about today’s format of NUCOM meetings, considering more seriously the interdisciplinary character of the methodologic approaches adopted by the field. Interdisciplinarity should be pursued by striving to contaminate a growing number of different topics of musical sciences, as well as of other research fields.

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Reports on the topic "The Plimsouls (musical group)"

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.

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