Interactive sound art and animated notation as an ensemble performance platform in primary level music education

Main Article Content

Anders Lind

Abstract

This article showcases excerpts of my artistic research in progress. In particular, I demonstrate how an interdisciplinary approach combining knowledge from the fields of artistic research, Human Computer Interaction (HCI) and game studies mayinspire primary level music education of today. I highlight examples of novel digital music technology and present an innovate approach to using these for group performance exercises in the music classroom. In particular, I report from a study where my interactive sound art exhibition LINES, in combination with animated music notation, was used as a digital ensemble music platform. The data of the study comprises five workshop sessions with pre-schoolers using this platform. An autoethnographic method and analysis of video documentation of the workshop sessions were used as methods for the study. The results showed that LINES was both engaging and easily accessed. Moreover, it allowed the majority of the target group to perform musical exercises as an ensemble. I argue that the use of traditional instruments and traditional notation creates a democratic issue in primary level music education. Furthermore, with support from the study and related research, I argue that platforms such as this may democratize music education involving pupils aged 5-15 years.

Article Details

How to Cite
Lind, A. (2020). Interactive sound art and animated notation as an ensemble performance platform in primary level music education. Educare - Vetenskapliga Skrifter, (1), 53-81. https://doi.org/10.24834/educare.2020.1.4
Section
Articles

References

Aarsand Simonsen, P., and Aarsand, P. (2009) De öppna och stängda
dörrarnas moral: Dilemman i deltagande observation med videoka-mera. Den Väsentliga Vardagen: Några diskursanalytiska perspektiv på tal, text och bild.
Barraclough, T. J., Carnegie, D. A., and Kapur, A. (2015) Musical
Instrument Design Process for Mobile Technology. In Proceedings of the International Conference on New Interfaces for Musical Expression,
Baton Rouge, LA, USA.
Borgdorff, H. A. H. (2012). The conflict of the faculties: Perspectives on artistic research and academia (p. 277). Leiden University Press.
Blaine, T., and Perkis, T. (2000) The Jam-O-Drum interactive music
system: a study in interaction design. In Proceedings of the 3rd
conference on Designing interactive systems: processes, practices,
methods, and techniques (pp. 165-173). ACM.
Blaine, T., and Fels, S. (2003) Collaborative musical experiences for
novices. Journal of New Music Research, 32(4), 411-428.
Brown, A. (2014). Music technology and education: Amplifying musical-ity. Routledge.
Burnard, P. (2006). The individual and social worlds of children’s musi-cal creativity. In G. E. McPherson (Ed.) The child as musician: A hand-book of musical development, pp. 353–374. Oxford: Oxford Universi-ty Press.
Burnard, P. (2007). Reframing creativity and technology: promoting pedagogic change in music education. Journal of Music, Technology and Education, 1(1), 37–55.
Cuban, L. (2009). Oversold and underused: Computers in the classroom Cambridge, MA: Harvard University Press.
Csíkszentmihályi, Mihály (1975). Beyond Boredom and Anxiety: The
Experience of Play in Work and Games. San Francisco, CA: Jossey-Bass.
Dabbledoomusic.com (2019). Retrieved 2019.11.01 from: https://dabble doomusic.com/p/about-us
DeWalt, Kathleen M. and DeWalt, Billie R. (2002) Participant
observation: a guide for fieldworkers.Walnut Creek, CA: AltaMira Press.
Dorfman, J. (2008). Technology in Ohio’s school music programs: An e
ploratory study of teacher use and integration. Contributions to Music Education, 35, 23–46.
DomíNguez, A., Saenz-De-Navarrete, J., De-Marcos, L., FernáNdez-Sanz, L., PagéS, C., & MartíNez-HerráIz, J. J. (2013). Gamifying learn-ing experiences: Practical implications and outcomes. Computers & Ed-ucation, 63, 380-392.
Ellingson, L., & Ellis, C. (2008). Autoethnography as constructionist project. Handbook of constructionist research, 445.
Erenli, K. (2012, September). The impact of gamification: A recommen-dation of scenarios for education. In 2012 15th International Confer-ence on Interactive Collaborative Learning (ICL) (pp. 1-8). IEEE.
Finney (2010). Music education and technology (e) : Education and digital technology. Retrieved from https://ebookcentral.proquest.com pp 95-106
Fischer, C. (2015) Understanding Animated Notation. Proceedings of
the International Conference On New Tools for Music Notation and
Representation – TENOR, Paris.
Fischer, C. (2013) Motion Graphic Notation-a tool to improve live
electronic music practice. Emille Vol. 11-Journal of the Korean
Electro-Acoustic Music Society.
Folkestad, G. (2018). Soundscaping the world with digital tools: The fu-ture in retrospect.
Gower, L., & McDowall, J. (2012). Interactive music video games and
children's musical development. British Journal of Music Education,
29(1), 91-105.
Hannula, M., Suoranta, J., & Vadén, T. (2014). Artistic Research: Meth-odology. Narrative, Power and the Public.
Hermerén, G. (2011). God forskningssed. Vetenskapsrådet.
Hope, C., & Vickery, L. (2010) The Aesthetics of the Screen-Score.
Proceedings of CreateWorld. 48-57.
Huang, W. H. Y., & Soman, D. (2013). Gamification of educa-tion. Research Report Series: Behavioural Economics in Action, Rot-man School of Management, University of Toronto.
Jakobsen, K., buhl, Petersen, M. G., Rasmussen, M. K.,
Groenbaek, J. E., Winge, Jakob, and Stougaard, Jeppe. (2016)
Hitmachine: collective musical expressivity for novices, in Proceedings
of the international conference on new interfaces for musical
expression, Brisbane, Australia, pp. 241-246.
Juntunen, M. L. (2018). Using socio-digital technology to enhance partic-ipation and creative engagement in a lower secondary music classroom.
Juul, Jesper. "The magic circle and the puzzle piece." (2008).
Kaltenbrunner, M., Jorda, S., Geiger, G., and Alonso, M.
The reactable* (2006) A collaborative musical instrument.
In Enabling Technologies: Infrastructure for Collaborative
Enterprises, WETICE'06. 15th IEEE International Workshops on
(pp. 406-411). IEEE.
Karsenti, T. & Fievez, A. (2013). The iPad in education: uses, benefits and challenges—A Survey of 6,057 students and 302 teachers in Que-bec, Canada. Creative Commons: San Francisco. Retrieved August 8, 2014 from http://karsenti.ca/ipad/pdf/iPad_report_Karsenti-Fievez_EN.pdf.
Kim-Boyle, D. (2010) Real-time score generation for extensible open
forms. Contemporary Music Review, 29(1). 3-15.
Kwastek, Katja. (2015) "Immersed in Reflection? The Aesthetic
Experience of Interactive Media Art." Stud. Intermediality 9: 67-86.
Lind, A., & Nylén, D. (2016). Mapping everyday objects to digital mate-riality in The Wheel Quintet: Polytempic music and participatory art. In 16th International Conference on New Interfaces for Musical Expres-sion (NIME'16), At Griffith University, Brisbane, Australia (pp. 84-89).
Lind, A (2016) Large-scale music compositions and novel technology
innovations–Summarizing the process of Voices of Umeå,
an artistic research project. HumaNetten, (37). 107-139.
Lind, A. (2018). Animated notation in multiple parts for crowd of
non-professional performers. In NIME 2018, Blacksburg,
Virginia,USA (pp. 13-18). The International Conference on New
Interfaces for Musical Expression.
National Education Association. (2008). Access, adequacy, and equity in education technology. Washington, DC: National Education Associa-tion.
Rolo, R. (2011, June). Singstar-applying to music education.
In EdMedia: World Conference on Educational Media and
Technology (pp. 3192-3201). Association for the Advancement of
Computing in Education (AACE).
Schensul, Stephen L.; Schensul, Jean J. and LeCompte, Margaret D.
(1999) Essential ethnographic methods: observations, interviews, and
questionnaires (Book 2 in Ethnographer's Toolkit). Walnut Creek,
CA: AltaMira Press.
Siebert, C. (2017). Västerländsk konstmusik efter 1945?
En intervjustudie om svenska och tyska musiklärares syn på en
musikalisk stil och dess betydelse för den obligatoriska
musikundervisningen.
Skolverket (2015). Musik i grundskolan: en nationell ämnesutvärdering
i årskurs 6 och 9. Stockholm: Skolverket.
Somekh, B. (2008). Factors affecting teachers’ pedagogical adoption of ICT. In J. Voogt & G. Knezek (Eds.) International handbook of infor-mation technology in primary and secondary education, pp. 449–460. Dordrecht: Springer.
Swanwick, K., & Franca, C. C. (1999). Composing, performing and au-dience-listening as indicators of musical understanding. British Journal of Music Education, 16(1), 5-19.
Taylor, J., & Deal, J. (2000, November). Integrating technology into the K–12 music curriculum: A national survey of music teachers. Poster ses-sion presented at the annual meeting of the Association for Technology in Music Instruction, Toronto, Canada.
Thresher, J. M. (1964). The contributions of Carl Orff to elementary music education. Music Educators Journal, 50(3), 43-48.
Trueman, D. (2007). Why a laptop orchestra? Organised Sound, 12(2), 171–179.
Wang, G., Essl, G., & Penttinen, H. (2008, June). MoPho–A Suite for a Mobile Phone Orchestra. In 8 th International Conference on New In-terfaces for Musical Expression NIME08(p. 392).
Weinberg, G., and Gan, S. L. (2001) The squeezables: Toward an
expressive and interdependent multi-player musical instrument.
Computer Music Journal, 25(2). 37-45.
Williams, D. A. (2014). Another perspective: The iPad is a REAL musi-cal instrument. Music Educators Journal, 101(1), 93-98.
Wyse, L., and Yew, J.(2014) A Real-Time Score for Collaborative
Just-in-Time Composition. Organised Sound, 19(03). 260-267.
Zamorano, F., Simpletones (2012). a system of collaborative physical
controllers for novices, in Proceedings of the international conference
on new interfaces for musical expression, Ann Arbor, Michigan.