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Artículos de revistas sobre el tema "Music programmers"

Autor: Grafiati

Publicado: 1 de junio de 2024

Última modificación: 31 de julio de 2025

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1

Temkin, Daniel. "Entropy and FatFinger: Challenging the Compulsiveness of Code with Programmatic Anti-Styles." Leonardo 51, no. 4 (2018): 405–12. http://dx.doi.org/10.1162/leon_a_01651.

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Coding, the translating of human intent into logical steps, reinforces a compulsive way of thinking, as described in Joseph Weitzenbaum’s “Science and the Compulsive Programmer” (1976). Two projects by the author, Entropy (2010) and FatFinger (2017), challenge this by encouraging gestural approaches to code. In the Entropy programming language, data becomes slightly more approximate each time it is used, drifting from its original values, forcing programmers to be less precise. FatFinger, a Javascript dialect, allows the programmer to misspell code and interprets it as the closest runnable var

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Devenish, Louise. "INTRODUCTION: TOWARDS GENDER DIVERSITY IN NEW MUSIC PRACTICE." Tempo 74, no. 292 (2020): 6–9. http://dx.doi.org/10.1017/s0040298219001128.

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AbstractThe collection of articles in TEMPO 292 provides the opportunity to examine recent research and approaches towards gender diversity in new music from an Australian perspective. The otherwise under-recognised contributions to the development of music by women and gender-diverse artists is spotlighted through academic research, industry strategies and creative approaches to music-making. Topics explored include artistic research in free improvisation, performance analysis and performativity, presented together with research findings drawn from mentorship programmes for female composers,

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Wang, Ge, Perry R. Cook, and Spencer Salazar. "ChucK: A Strongly Timed Computer Music Language." Computer Music Journal 39, no. 4 (2015): 10–29. http://dx.doi.org/10.1162/comj_a_00324.

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ChucK is a programming language designed for computer music. It aims to be expressive and straightforward to read and write with respect to time and concurrency, and to provide a platform for precise audio synthesis and analysis and for rapid experimentation in computer music. In particular, ChucK defines the notion of a strongly timed audio programming language, comprising a versatile time-based programming model that allows programmers to flexibly and precisely control the flow of time in code and use the keyword now as a time-aware control construct, and gives programmers the ability to use

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4

Szepanski, Achim. "A Mille Plateaux manifesto." Organised Sound 6, no. 3 (2001): 225–28. http://dx.doi.org/10.1017/s1355771801003089.

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The label Mille Plateaux focuses on concepts like virtuality, noise, machinism and digitality. In the most simple case, digital music simulates something that does not exist as a reality; it generates something new. It is the result of the teamwork of numerous authorities such as the 'musician', the programmer and the authority of the software program. Today, computer digital music can be seen as screen-based music, i.e. sounds become visible and images audible, but one can often forget that there is no mutual correspondence; and that this is simply a mechanism whereby a given program secretly

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Rubinstein, Yair. "Uneasy Listening." Resonance 1, no. 1 (2020): 77–93. http://dx.doi.org/10.1525/res.2020.1.1.77.

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This paper explores the cultural ramifications of music generated by artificial intelligence (AI). Deploying complex algorithms to create original music productions, AI’s automation of human authorship may suggest a radically new sonic form. However, its creators have preferred to use its tools to mimic established musical genres from the past. As a result, notable AI-music programmers like composer David Cope and software developers Flow Machines have galvanized the public’s interest in AI-generated music not by creating completely alien sonic forms, but by simulating popular styles like rock

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6

Scott, Michael. "The networked state: New Zealand on Air and New Zealand’s pop renaissance." Popular Music 27, no. 2 (2008): 299–305. http://dx.doi.org/10.1017/s026114300800408x.

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AbstractWhen New Zealand’s ‘third-way’ Labour government came to power in 1999 it placed a greater policy and funding emphasis on the arts and culture. Like other ‘promotional states’ (Cloonan 1999) the Labour government sought to support the domestic popular music industry through a voluntary radio quota. Drawing on qualitative research, this article describes the ways in which the state, through New Zealand on Air, negotiates and leverages domestic popular music artists onto commercial radio. In this process, state agents mobilise social networks to ‘join-up’ commercially appropriate artists

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7

Tarasau, Herman, and Ananga Thapaliya. "Influence of listening to music on emotional state of programmers: Preliminary study." Journal of Physics: Conference Series 1694 (December 2020): 012013. http://dx.doi.org/10.1088/1742-6596/1694/1/012013.

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8

Anthony, Brendan, Paul Thompson, and Tuomas Auvinen. "Learning the ‘tracker’ process: A case study into popular music pedagogy." Journal of Popular Music Education 4, no. 2 (2020): 211–35. http://dx.doi.org/10.1386/jpme_00026_1.

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The ‘tracker’ production process is a modern form of music production agency where top-line songwriters work with music programmers called ‘trackers’, primarily within the confines of the digital audio workstation. In this case, production, songwriting and performance often happen concurrently, and collaboration involves the synthesis of ideas, musical negotiations and expertise in using digital and online technologies. In providing popular music production learning activities that translate to professional contexts, higher education institutions face a number of challenges, particularly where

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9

Bonini, Tiziano, and Alessandro Gandini. "“First Week Is Editorial, Second Week Is Algorithmic”: Platform Gatekeepers and the Platformization of Music Curation." Social Media + Society 5, no. 4 (2019): 205630511988000. http://dx.doi.org/10.1177/2056305119880006.

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This article investigates the logics that underpin music curation, and particularly the work of music curators, working at digital music streaming platforms. Based on ethnographic research that combines participant observation and a set of interviews with key informants, the article questions the relationship between algorithmic and human curation and the specific workings of music curation as a form of platform gatekeeping. We argue that music streaming platforms in combining proprietary algorithms and human curators constitute the “new gatekeepers” in an industry previously dominated by huma

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10

Li, Wenhao, Zhengmo Ma, and Zijian Zou. "Synthetic Music Random Generation Based on Nyquist." Highlights in Science, Engineering and Technology 85 (March 13, 2024): 591–96. http://dx.doi.org/10.54097/750ga766.

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The idea of composing music based on programs has a long history, from some pioneers who first tried to fulfill this idea, to now, the variety of software and workshops that allow people to generate music in different approaches. On this basis, this study will briefly discuss the main idea and some methods used to compose the music in this paper. We aimed to randomly generate a piece of music using only Nyquist. Thus, each time when listen to this, there is a slight difference. With this in mind, this paper has used two ways: the first one is to use several functions in Nyquist, which would ra

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11

Sen, Arnaja, Dhaval Popat, Hardik Shah, Priyanka Kuwor, and Era Johri. "Music Playlist Generation using Facial Expression Analysis and Task Extraction." Annales Universitatis Mariae Curie-Sklodowska, sectio AI – Informatica 16, no. 2 (2017): 1. http://dx.doi.org/10.17951/ai.2016.16.2.1.

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<p>In day to day stressful environment of IT Industry, there is a truancy for the appropriate relaxation time for all working professionals. To keep a person stress free, various technical or non-technical stress releasing methods are now being adopted. We can categorize the people working on computers as administrators, programmers, etc. each of whom require varied ways in order to ease themselves. The work pressure and the vexation of any kind for a person can be depicted by their emotions. Facial expressions are the key to analyze the current psychology of the person. In this paper, w

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CODDINGTON, AMY. "A “Fresh New Music Mix” for the 1980s: Broadcasting Multiculturalism on Crossover Radio." Journal of the Society for American Music 15, no. 1 (2021): 30–59. http://dx.doi.org/10.1017/s1752196320000462.

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AbstractThis article examines the racial politics of radio programming in the United States by focusing on the development of a new radio format in the late 1980s. This new format, which the radio industry referred to as Crossover, attracted a coalition audience of Black, white, and Latinx listeners by playing up-tempo dance, R&B, and pop music. In so doing, this format challenged the segregated structure of the radio industry, acknowledging the presence and tastes of Latinx audiences and commodifying young multicultural audiences. The success of this format influenced programming on Top 4

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Uttam, Adha, Singh Shayna, Chanchal, Tinna Ishika, and Kumar Ashish. "Jarvis: Virtual Voice Command Desktop Assistant." Jarvis: Virtual Voice Command Desktop Assistant 8, no. 11 (2023): 4. https://doi.org/10.5281/zenodo.10255376.

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Earlier As everyone is aware, technology and  artificial intelligence play a huge role in daily life. AI- driven voice assistants have merged with technology to  become a necessary component of our everyday life. With a personal virtual assistant namely JARVIS, a user can ask questions and issue commands in the same way they would with a human. Some simple actions can even be performed with a voice command, such as opening programmers, playing music, searching Wikipedia without opening a browser, and opening apps. To improve its usability and functionality, the assistant integrates t

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Werb, Bret Charles, and Maria V. Lebedeva. "The Aleksander Kulisiewicz Collection at the United States Holocaust Memorial Museum: An Introduction." Observatory of Culture 17, no. 5 (2020): 478–95. http://dx.doi.org/10.25281/2072-3156-2020-17-5-478-495.

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Envisioned by its founders as a storehouse of historical evidence — material artifacts, written and oral testimonies, photographs and films — the U.S. Holocaust Memorial Museum in Washington DC is the repository of a significant archive of music salvaged from the Nazi ghettos and camps. This paper focuses on the Museum’s single largest music collection, that of the Polish camp survivor Aleksander Kulisiewicz (1918—1982). A native of Kraków, Poland, who spent over five years as a political prisoner in Sachsenhausen, Kulisiewicz in later life grew obsessed with documenting the repertoire that hi

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15

Fields, Deborah, Veena Vasudevan, and Yasmin B. Kafai. "The programmers’ collective: fostering participatory culture by making music videos in a high school Scratch coding workshop." Interactive Learning Environments 23, no. 5 (2015): 613–33. http://dx.doi.org/10.1080/10494820.2015.1065892.

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Fourmentraux, Jean-Paul. "Internet Artworks, Artists and Computer Programmers: Sharing the Creative Process." Leonardo 39, no. 1 (2006): 44–50. http://dx.doi.org/10.1162/002409406775452177.

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Internet artwork no longer refers to the concept of a finalized object, but rather to a dynamic process, a collective, open and interactive device. Due to the increasing sophistication of tools, the design of an Internet artwork now requires hybrid skills. The necessary cooperation with computer specialists in order to create suitable programs thus changes the status of the artwork and its author. This paper presents an ethnographic case study of cooperation between a computer programmer and an artist. It examines the processes of shared design, negotiated authorship and artwork appropriation.

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Norilo, Vesa, and Alejandro Olarte. "A Visual Programming Interface for Digital Luthiery: Implementing Circuits with Veneer." Computer Music Journal 44, no. 4 (2020): 8–25. http://dx.doi.org/10.1162/comj_a_00578.

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Abstract This article presents a method for programming musical signal-processing circuits visually, using expressive idioms and abstractions from functional programming. Special attention is paid to the creative workflow, framing the education in a constructionist context. Our aim is to empower musicians in signal processing: The claim was tested in a university workshop for relatively inexperienced programmers. The participants were able to study and implement signal-processing algorithms from literature and integrate them into their preexisting workflow, and appeared to gain self-confidence

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18

Fraietta, Angelo, Oliver Bown, Sam Ferguson, Sam Gillespie, and Liam Bray. "Rapid Composition for Networked Devices: HappyBrackets." Computer Music Journal 43, no. 2-3 (2020): 89–108. http://dx.doi.org/10.1162/comj_a_00520.

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This article introduces an open-source Java-based programming environment for creative coding of agglomerative systems using Internet-of-Things (IoT) technologies. Our software originally focused on digital signal processing of audio—including synthesis, sampling, granular sample playback, and a suite of basic effects—but composers now use it to interface with sensors and peripherals through general-purpose input/output and external networked systems. This article examines and addresses the strategies required to integrate novel embedded musical interfaces and creative coding paradigms through

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Adamopoulou, Georgia1* Birba Maria2. "The STEAM explorers of spring." ISRG Journal of Arts Humanities & Social Sciences (ISRGJAHSS) I, no. VI (2023): 171–21. https://doi.org/10.5281/zenodo.10199537.

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<i>In this paper we studied the Spring season both in its scientific dimension (Physics, Mathematics, Geography, Engineering) and in its artistic perspective (Music, Painting). We used ICT tools (Excel, Scratch, Paint 3D, Microsoft Sway, Microsoft Photos, Wordwall, Google Forms, Book Creator, CmapTools, Movie Maker) in the realization of a number of activities which were held in the classroom. These activities involved students from a primary and a secondary school, and were completed in 12 teaching hours. The students, working in groups, interdisciplinary, utilizing both the theory of constru

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20

Collins, Nick. "Live Coding of Consequence." Leonardo 44, no. 3 (2011): 207–11. http://dx.doi.org/10.1162/leon_a_00164.

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A live coding movement has arisen from everyday use of interpreted programming environments, where the results of new code can be immediately established. Running algorithms can be modified as they progress. In the context of arts computing, live coding has become an intriguing movement in the field of real-time performance. It directly confronts the role of computer programmers in new media work by placing their actions, and the consequences of their actions, centrally within a work's setting. This article covers historical precedents, theoretical perspectives and recent practice. Although th

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De Pra, Yuri, and Federico Fontana. "Programming Real-Time Sound in Python." Applied Sciences 10, no. 12 (2020): 4214. http://dx.doi.org/10.3390/app10124214.

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For its versatility, Python has become one of the most popular programming languages. In spite of its possibility to straightforwardly link native code with powerful libraries for scientific computing, the use of Python for real-time sound applications development is often neglected in favor of alternative programming languages, which are tailored to the digital music domain. This article introduces Python as a real-time software programming tool to interested readers, including Python developers who are new to the real time or, conversely, sound programmers who have not yet taken this languag

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Randerson, Janine, Jennifer Salmond, and Chris Manford. "Weather as Medium: Art and Meteorological Science." Leonardo 48, no. 1 (2015): 16–24. http://dx.doi.org/10.1162/leon_a_00933.

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The recent artworks Albedo of Clouds and Neighbourhood Air adopt weather as primary material for sensory experiences. The art installations included the contributions of scientists, programmers, instrument technicians, social online networks and the vagaries of the weather itself. The projects suggest that creative engagement with meteorological science can activate eco-political “networks” in Latour’s sense, productive of knowledge and potentially transformative. In such “meteorological art,” digital networks not only distribute facts about atmospheric data; they also generate affective forms

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Petchauer, Emery, Tia Harvey, and Rolando Ybarra. "Sonic play: on the B-side of literacy and songwriting." English Teaching: Practice & Critique 22, no. 4 (2023): 462–81. http://dx.doi.org/10.1108/etpc-08-2023-0091.

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Purpose This paper aims to explore sonic play in close proximity to a music, literacy and songwriting for social change community-based initiative. The authors leverage ideas about time, space and narrative under the concept of sonic flux to understand youth’s sonic and aural play on digital beatmaking technologies. In doing so, the authors break from a fixation on the written and spoken word and address sound, aurality and Blacktronika creative technologies that are often present but muted in literacies and songwriting scholarship. Design/methodology/approach The authors’ team consisted of th

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Schwartz, Oscar. "Competing Visions for AI." Digital Culture & Society 4, no. 1 (2018): 87–106. http://dx.doi.org/10.14361/dcs-2018-0107.

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Abstract In this paper, I will investigate how two competing visions of machine intelligence put forward by Alan Turing and J. C. R Licklider - one that emphasized automation and another that emphasized augmentation - have informed experiments in computational creativity, from early attempts at computer-generated art and poetry in the 1960s, up to recent experiments that utilise Machine Learning to generate paintings and music. I argue that while our technological capacities have changed, the foundational conflict between Turing’s vision and Licklider’s vision plays itself out in generations o

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Kearney, Daithí, and Adèle Commins. "Studio Trad: Facilitating traditional music experiences for music production students." Journal of Music, Technology & Education 11, no. 3 (2018): 301–18. http://dx.doi.org/10.1386/jmte.11.3.301_1.

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Many music production programmes in higher education institutions are heavily invested in popular music genres and production values in contrast to the diversity of musics often included in other music programmes and encountered in everyday life. Commenting on his 2017 album, Ed Sheeran highlights the potential for incorporating Irish traditional music into popular music. Over the past number of years, creative practice research projects at Dundalk Institute of Technology have provided opportunities for music production students to engage in the recording and production of Irish traditional mu

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Graham, Stephen. "Kammer Klang, Café Oto, London: 3 November and 1 December 2015." Tempo 70, no. 276 (2016): 76–78. http://dx.doi.org/10.1017/s0040298215001059.

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Kammer Klang is enjoying a purple patch. Based in East London's Café Oto, the series sits in a sweet spot between the rougher-edged music usually played at Oto and the more conventionally white cubed silence of new music. Audiences are generally relaxed in the setting, despite creaking chairs. The series' mixed programmes gel, with the distance between various featured musics growing ever smaller as cultural demographics continue to shift.

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Hamilton, Sandra, and Jennifer Vannatta-Hall. "Popular music in preservice music education: Preparedness, confidence and implementation." Journal of Popular Music Education 4, no. 1 (2020): 41–60. http://dx.doi.org/10.1386/jpme_00013_1.

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This study examined popular music in preservice music teacher training programmes in the United States. The researchers explored types of courses and programmes offered in undergraduate music education programmes to prepare future music teachers to teach popular music. Quantitative data revealed trends in the inclusion of popular music within undergraduate music education programmes, determined music teacher educators’ perceptions of their students’ attitudes towards using popular music in the general music classroom, and examined the types of popular music pedagogy needed for preservice music

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Hönerlage, Christoph. "Church music degree programmes at the University of Catholic Church Music and Music Education (HfKM) Regensburg (Germany). The history of an unusual university." Pro Musica Sacra 22 (October 25, 2024): 21–29. http://dx.doi.org/10.15633/pms.2202.

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The Regensburg University of Catholic Church Music and Music Education (HfKM), founded in 1874 as the Regensburg School of Church Music by Franz Xaver Haberl, is the world’s oldest Catholic institution for church music. With international significance from its inception, the institution was officially affiliated with the Pontificio Istituto di Musica Sacra in Rome in 1962. In 1973, it was transformed into an academy and, in 2001, the HfKM was formally established. The university offers Bachelor's and Master's programs in Church Music, Gregorian Chant, and New Sacred Music, emphasizing both art

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Q., Matilda, Stephen N. A., John F. A., Godfred S., Daniel D. M., and Stella R. A. "The Awareness and Proficiency of Tutors in using Software Programmes for Music Education at Methodist College of Education, Akim Oda." African Journal of Social Sciences and Humanities Research 7, no. 2 (2024): 424–35. http://dx.doi.org/10.52589/ajsshr-p2ji9v7a.

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The establishment of an ultra-modern ICT laboratory at the Methodist College of Education, Akim Oda has propelled the need to introduce music students to computer and software programmes in music education. However, to make recommendations for the realization of this vision, this study considered the awareness and proficiency of the tutors in computer and software programmes in music education. This descriptive study described the views of music tutors about their awareness and proficiency in computer and software programmes. The results from this study disclosed that three out of the four mus

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Marcoll, Maximilian. "ECLAT 2017, Stuttgart, Germany." Tempo 71, no. 281 (2017): 95–96. http://dx.doi.org/10.1017/s0040298217000389.

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Unlike many other New Music festivals, Eclat has so far resisted the temptation to build the festival programmes around central themes. The Eclat festival is one of the major annual gatherings of the German and international scene for contemporary music, taking place in Stuttgart and organised by ‘Musik der Jahrhunderte’ (Christine Fischer) in collaboration with the SWR (Lydia Jeschke). The lack of a central theme doesn't indicate a pragmatic or vague approach to curation, but the festival organisers’ aim to assemble a selection of artists, ensembles and pieces that are either directly asking

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Rauduvaite, Asta, and Yadian Du. "The analysis of music teacher education programmes in Lithuania and China." International Journal of Learning and Teaching 10, no. 1 (2018): 38. http://dx.doi.org/10.18844/ijlt.v10i1.3144.

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Study programmes that aim to educate music teachers have been undergoing a constant process of renewal, which is predetermined by various factors. The study programmes of music teacher education implemented in Lithuania have never been broadly analysed and compared to similar study programmes of music teacher education in China. Therefore, this study aimed to carry out an analysis of bachelor and master study programmes of music teacher education in Lithuania and China revealing their similarities and differences. The research study disclosed that the goals, intended learning outcomes, structu

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Răducanu, Cristina Andra. "STRATEGIES OF TEACHING AN ELECTIVE PIANO COURSE TO THEORETICAL MUSIC UNDERGRADUATE STUDENTS." Review of Artistic Education 29 (May 30, 2025): 26–34. https://doi.org/10.35218/rae-2025-0003.

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Abstract: The present article highlights the peculiarities of the elective Piano course in music colleges offering theoretical, not instrumental, study programmes, since this is a course which, upon completion, certifies bachelors to subsequently teach piano in music schools. The author presents the various problems specific to this subject and proposes various methods and strategies for solving them. Key words: piano technique, undergraduate music students, music programmes, technical difficulties, piano pedagogy Abstract: The present article highlights the peculiarities of the elective Piano

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Thomason, Geoffrey. "Concert Programmes." Musical Times 128, no. 1737 (1987): 614. http://dx.doi.org/10.2307/965516.

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Messerschmidt, Edward D. "‘Nowhere else in the prison was that possible!’: Directors’ perspectives on instrumental music programmes in US prisons." International Journal of Community Music 16, no. 3 (2023): 317–36. http://dx.doi.org/10.1386/ijcm_00090_1.

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This study sought to gain an understanding of: (a) the formation and operation of four instrumental music programmes active in prisons between 1973 and 2020 and (b) the meanings ascribed to those programmes by their directors and their perceptions of the meanings that incarcerated instrumentalists ascribed to their participation in those groups, focusing on aspects of the programming that might contribute to desistance. Four retired music educators completed an online, open-ended questionnaire, describing their experiences teaching instrumental music in prisons. Using inductive thematic analys

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Prof. Mellitus N. WANYAMA; Prof. Frederick B. J. A. NGALA, Joyce M. MOCHERE;. "The Relevance of University Music Curricula to the Requirements of Church Music Job Market in Kenya." Editon Consortium Journal of Curriculum and Educational Studies 2, no. 1 (2020): 250–74. http://dx.doi.org/10.51317/ecjces.v2i1.161.

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In the prevailing global church music job market, church worship ministers or music directors are on high demand as they play a crucial role in church liturgy and other church musical events. Globally, many universities offer programmes on music training and pastoral leadership. In Kenya, such training is predominantly in theological schools with few universities offering such programmes. Currently, there is a growing interest of church musicians in Kenya due to the need to spread the gospel beyond the church walls and to promote ecumenism. For example, churches participate in church crusades,

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Madden, Amanda. "Mardikes, Catherine M., and Elissa B. Weaver, general eds.; Courtney K. Quintance, biography ed.; and Charles M. Cooney and Mark Olsen, programmers. Italian Women Writers. Database." Renaissance and Reformation 45, no. 2 (2022): 279–81. http://dx.doi.org/10.33137/rr.v45i2.39771.

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Ng, Hoon Hong. "Enabling Popular Music Teaching in the Secondary Classroom – Singapore Teachers' Perspectives." British Journal of Music Education 35, no. 3 (2018): 301–19. http://dx.doi.org/10.1017/s0265051717000274.

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The pervasiveness of popular music and its associated practices in current youth cultures brings into question the relevance and effectiveness of more traditional music pedagogies, and propels a search for a more current and engaging music pedagogy informed by popular music practices. With this as the basis, this study seeks to explore factors that may enable the success and effectiveness of popular music programmes in public schools through the lenses of three Singapore secondary school teachers as they conducted their popular music lessons over seven to ten weeks. In the process, the study a

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García Sedano, Marcelino. "Arte y videojuegos. Reflexiones sobre lo lúdico, el arte y la tecnología en Asturias." Liño 23, no. 23 (2017): 175. http://dx.doi.org/10.17811/li.23.2017.175-184.

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RESUMEN:La apertura de LABoral Centro de Arte y Creación Industrial y el lanzamiento del primer festival sobre música electrónica experimental y artes visuales LEV Festival en el año 2007, coloca a Gijón y al Principado de Asturias en los puestos de cabeza de la reflexión y exhibición de las cuestiones relacionadas con la tecnocreatividad. Semejante despliegue institucional, arranca con fuerza y con propuestas arriesgadas, entre ellas, la programación de varias grandes exposiciones sobre la relación del videojuego y la cultura en el corto periodo de dos años. Lo que podría considerarse un deba

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Žaimis, Uldis, Ilva Magazeina, and Anita Jansone. "GOLD - SECTION IN INTERACTIVE USER INTERFACE DEVELOPMENT." Environment. Technology. Resources. Proceedings of the International Scientific and Practical Conference 2 (June 15, 2017): 180. http://dx.doi.org/10.17770/etr2017vol2.2565.

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The days when only specialists worked with programs and the functionality was the most important have long passed. In today's competitive environment, an important marketing component is reliability in which the only tangible part of the program, the interface, plays a large role. Purely psychological, it is important for the users' visibility, correctness and can even be argued, friendliness. This is determined by the elements of visibility and components' location in intuitively expected places, design integrity, tone and choice of characteristic elements which, together, create a feeling of

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Ballora, Mark, and Curtis Craig. "Consilient Spheres of Influence in a Land Grant Setting." Organised Sound 18, no. 2 (2013): 201–6. http://dx.doi.org/10.1017/s1355771813000113.

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At Penn State, music technology is something of a stranger in a strange land. As a programme, it began in the early twenty-first century, when the necessity of the moment was an anticipated revision to the guidelines from the National Association of Schools of Music (NASM), the North American accrediting body. Music schools were charged with ensuring that music majors were exposed to ‘relevant technologies’. It was left largely to individual institutions to interpret what this meant. At Penn State, a course was created to address this guideline, and it generated interest among students. This c

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Bartleet, Brydie-Leigh, Catherine Grant, Charulatha Mani, and Vanessa Tomlinson. "Global mobility in music higher education: Reflections on how intercultural music-making can enhance students’ musical practices and identities." International Journal of Music Education 38, no. 2 (2020): 161–76. http://dx.doi.org/10.1177/0255761419890943.

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Music higher education institutions are increasingly recognising the educational value of intercultural learning experiences. Delivering such learning experiences in a way that provides music students with a rich cultural and musical learning experience, rather than a superficial one, can be a challenging task, particularly in the case of short-term ‘mobility’ or ‘study-abroad’ programmes. This article explores ways to address this challenge by reflecting on student learnings from a suite of international study experiences, or ‘global mobility programmes’, at one Australian tertiary music inst

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Corcoran, Sean. "Teaching creative music in El Sistema and after-school music contexts." International Journal of Music Education 39, no. 3 (2021): 313–26. http://dx.doi.org/10.1177/0255761421990820.

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El Sistema music programmes have blossomed over the past decade, with the aim of fostering social development through intensive orchestral music instruction. Many scholars agree that creative music making can facilitate student agency development, increase a sense of belonging and promote creative expression by allowing students to bring their perspectives to the learning context. With these benefits apparent, it seems rational that El Sistema should incorporate creative music making into its curriculum. To build understanding of how creative music approaches function in some programmes, I use

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Madyar-Novak, Vira. "Fields of Activity of Volodymyr Goshovskyi (Dedicated to the Centenary of the Scientist)." Problems of music ethnology 17 (November 17, 2022): 16–26. http://dx.doi.org/10.31318/2522-4212.2022.17.270895.

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In the conditions of the Russian occupation, when Ukraine is fighting for independence, the commemoration of the centennial anniversary of one of the “titans” of Ukrainian ethnomusicology, Volodymyr Hoshovsky (1922–1996), acquires special national significance. The article reviews the spheres of activity of the scientist throughout his life starting from his childhood. The diverse upbringing and education of the European level formed V. Hoshovsky’s interest in the exact sciences and humanities, as well as in art, even in his childhood. This diversity of interests allows you to respond to

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Simoni, Mary. "Project Lovelace: unprecedented opportunities for music education." Organised Sound 8, no. 1 (2003): 57–60. http://dx.doi.org/10.1017/s1355771803001067.

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Project Lovelace is a school-based programme for students aged twelve to eighteen years interested in learning about making music by using technology. The programme is designed to encourage equal and equitable participation by male and female students through instruction in technology-enhanced music performance, improvisation, composition, analysis and notation. Project Lovelace is named in honour of the contributions of the female mathematician Ada Augusta, Countess of Lovelace, who in 1842 predicted that computers could be used for musical composition (Roads 1996).The goals of Project Lovela

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Cain, Melissa Anne. "Singapore International Schools: Best practice in culturally diverse music education." British Journal of Music Education 27, no. 2 (2010): 111–25. http://dx.doi.org/10.1017/s0265051710000033.

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This paper explores the preliminary outcomes of research into the place and role of cultural diversity in primary music classes at five International Schools in Singapore. It highlights the ways in which school philosophy, policy, curriculum and in-service training influence teacher practice. The research provides insights into the challenges teachers face when diversifying their music programmes in addition to the areas of support that allow a programme based on cultural diversity to flourish and remain successful. The results of interviews with music specialists at these schools suggest that

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Wish, Dave. "Popular music education and American democracy: Why I coined the term ‘modern band’ and the road ahead." Journal of Popular Music Education 4, no. 1 (2020): 117–25. http://dx.doi.org/10.1386/jpme_00017_1.

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In this article, the author, the founder and CEO of Little Kids Rock, describes how his early work as an elementary school teacher providing an extracurricular guitar club, evolved into him founding a music education non-profit organization. By inventing the term ‘modern band’ and joining nationwide leading efforts for systemic change in US American music education, the author tries to place popular music conceptually and pedagogically at the core of school music programmes. The author briefly describes the causes of the exclusion of popular music from school music programmes before arguing th

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Hughes, Alayna. "Maker music: Incorporating the maker and hacker community into music technology education." Journal of Music, Technology & Education 11, no. 3 (2018): 287–300. http://dx.doi.org/10.1386/jmte.11.3.287_1.

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Music Production and Technology education has traditionally concentrated on audio engineering, studio recording techniques with the focus of preparing students for a career as a producer or engineer. While necessary to retain the fundamentals of audio and recording, music technology education could do a service to students by including topics from the maker community by encouraging technology innovation. While some topics such as synthesis, programming and electronics are taught in graduate programmes, these are still seen as ‘specialty’ topics and students in undergraduate programmes miss out

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Miettinen, Laura, Claudia Gluschankof, Sidsel Karlsen, and Heidi Westerlund. "Initiating mobilizing networks: Mapping intercultural competences in two music teacher programmes in Israel and Finland." Research Studies in Music Education 40, no. 1 (2018): 67–88. http://dx.doi.org/10.1177/1321103x18757713.

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Societies worldwide are becoming more aware of the educational challenges that come with increased cultural diversity derived from ethnic, linguistic, religious, socioeconomic and educational differences and their intersections. In many countries, teacher education programmes are expected to prepare teachers for this reality and develop their intercultural competences. This instrumental case study is based on a project that aims to initiate mobilizing networks between two music teacher programmes to explore intercultural music teacher education. In this study, we map the intercultural competen

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Temmerman, Nita. "An investigation of undergraduate music education curriculum content in primary teacher education programmes in Australia." International Journal of Music Education os-30, no. 1 (1997): 26–34. http://dx.doi.org/10.1177/025576149703000104.

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Primary school music experiences have been shown to impact not only on future adult attitudes to, but also interest and participation in music. Unfortunately, the current policy and practice of music in primary schools is still perceived to be unsatisfactory. According to teachers this can be attributed in the main to their undergraduate university training in music education. Music educators have a key role to play in breaking the apparent current cycle of unsatisfactory (or no) music practice at the primary school level. This paper investigates what curriculum content is currently included i

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Cuesta, José. "Music to my ears: the (many) socioeconomic benefits of music training programmes." Applied Economics Letters 18, no. 10 (2011): 915–18. http://dx.doi.org/10.1080/13504851.2010.517187.

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