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1
Engle, James Blaine. "A computer-assisted tree-ring chronology composition system." Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/291685.
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The design and implementation of a computer-assisted tree-ring chronology composition system for dendrochronology is described in this thesis. Methods for tree-ring growth sequence pattern matching, hierarchical composition of master chronologies, and analytical quality control are discussed in detail and systematically implemented in the CROSSDATE program in a highly visual, graphic environment. The objective of this work is to provide dendrochronologists with a robust set of tools for comparing the relative growth patterns of tree-ring samples for purposes of dating the samples and composing new master chronologies from individual tree-ring samples and other master chronologies. This system is complementary to the TREES program, a computer-vision based tree-ring identification and measurement system developed at the University of Arizona.
2
Kerr, Thorin. "Performing composition : developing a computer assisted composition system through live coding performance." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/32175/1/Thorin_Kerr_Thesis.pdf.
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This thesis maps the author's journey from a music composition practice to a composition and performance practice. The work involves the development of a software library for the purpose of encapsulating compositional ideas in software, and realising these ideas in performance through a live coding computer music practice. The thesis examines what artistic practice emerges through live coding and software development, and does this permit a blurring between the activities of music composition and performance. The role that software design plays in affecting musical outcomes is considered to gain an insight into how software development contributes to artistic development. The relationship between music composition and performance is also examined to identify the means by which engaging in live coding and software development can bring these activities together. The thesis, situated within the discourse of practice led research, documents a journey which uses the experience of software development and performance as a means to guide the direction of the research. The journey serves as an experiment for the author in engaging an hitherto unfamiliar musical practice, and as a roadmap for others seeking to modify or broaden their artistic practice.
3
Roble, Douglas Raymond. "Computer assisted three dimensional rotoscoping for realistic image composition." Connect to resource, 1992. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1194555873.
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Hoover, Amy K. "Functional Scaffolding for Musical Composition: A New Approach in Computer-Assisted Music Composition." Doctoral diss., University of Central Florida, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/6290.
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While it is important for systems intended to enhance musical creativity to define and explore musical ideas conceived by individual users, many limit musical freedom by focusing on maintaining musical structure, thereby impeding the user's freedom to explore his or her individual style. This dissertation presents a comprehensive body of work that introduces a new musical representation that allows users to explore a space of musical rules that are created from their own melodies. This representation, called functional scaffolding for musical composition (FSMC), exploits a simple yet powerful property of multipart compositions: The pattern of notes and rhythms in different instrumental parts of the same song are functionally related. That is, in principle, one part can be expressed as a function of another. Music in FSMC is represented accordingly as a functional relationship between an existing human composition, or scaffold, and an additional generated voice. This relationship is encoded by a type of artificial neural network called a compositional pattern producing network (CPPN). A human user without any musical expertise can then explore how these additional generated voices should relate to the scaffold through an interactive evolutionary process akin to animal breeding. The utility of this insight is validated by two implementations of FSMC called NEAT Drummer and MaestroGenesis, that respectively help users tailor drum patterns and complete multipart arrangements from as little as a single original monophonic track.
The five major contributions of this work address the overarching hypothesis in this dissertation that functional relationships alone, rather than specialized music theory, are sufficient for generating plausible additional voices. First, to validate FSMC and determine whether plausible generated voices result from the human-composed scaffold or intrinsic properties of the CPPN, drum patterns are created with NEAT Drummer to accompany several different polyphonic pieces. Extending the FSMC approach to generate pitched voices, the second contribution reinforces the importance of functional transformations through quality assessments that indicate that some partially FSMC-generated pieces are indistinguishable from those that are fully human. While the third contribution focuses on constructing and exploring a space of plausible voices with MaestroGenesis, the fourth presents results from a two-year study where students discuss their creative experience with the program. Finally, the fifth contribution is a plugin for MaestroGenesis called MaestroGenesis Voice (MG-V) that provides users a more natural way to incorporate MaestroGenesis in their creative endeavors by allowing scaffold creation through the human voice. Together, the chapters in this dissertation constitute a comprehensive approach to assisted music generation, enabling creativity without the need for musical expertise.Ph.D.
Doctorate
Computer Science
Engineering and Computer Science
Computer Science
5
Chen, Chi Wai, and cwchen@ied edu hk. "The creative process of computer-assisted composition and multimedia composition - visual images and music." RMIT University. Education, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080107.115525.
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This research study investigates how music technology can enhance and develop the musical ideas of students, focusing on the creative processes involved in computer-assisted composition and multimedia composition. The study investigates the Creative Multimedia Music Project, a module of the Associate of Arts (Music) Degree where students are using computers as music workstations. The aims of the study are (a) to evaluate the use of music technology for composing; (b) to describe the creative process of composing and investigate how the students comprehend this; and (c) to analyze the relationship between the creative process of the musical treatment and the visual image in multimedia composition. The study is conducted in an exploratory, self-directed environment where the students make musical decisions about their compositions. From the preliminary survey, 10 out of 45 music-major students (Year Two) from the Associate Degree Music Program at the Hong Kong Institute of Education (HKIEd) were selected. Composition activities took place over 15 sessions. The first phase focused on computer-assisted composition and the second phase focused on multimedia composition. The students attended lectures on alternate weeks. This gave them enough time to compose in the laboratory or at home, allowing them to explore, make decisions, and evaluate decisions. Data were collected from four sources: (1) written reports including a musical analysis of the creative process, (2) one-to-one interviews conducted during and after the creative process (15 questions were asked in each phase), (3) self-reflective journals that students maintained during their creative process, and (4) MIDI file observations after the creative process had occurred. After data collection, commonalities between each of these data sources were analyzed. This highlighted that during the creative process, a developmental pattern emerged that extends Webster's model (2003) of creative thinking in music. The relationships between the findings and the lite rature review were articulated to reinforce the creative thinking model, trends, and perspectives from different sources. Through an analysis of these students' creative processes and the strategies they adopted while composing with music technology, research projects such as this one may provide composers, music technologists, and music educators with insights into how students approach the task of composing using music technology. The findings might prove as a useful guidance to music educators on how to structure computer-assisted composition and multimedia composition programs for different age groups from school to university.
6
Patten, John Joseph. "Computer assisted assessment and computer assisted portfolio development in a whole language classroom." CSUSB ScholarWorks, 1994. https://scholarworks.lib.csusb.edu/etd-project/861.
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Potter, Kristine Louise. "Writing, computers, and rhetorical situations: A composition odyssey." CSUSB ScholarWorks, 2000. https://scholarworks.lib.csusb.edu/etd-project/1876.
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This thesis, an autoethnography, explores my own, personal experiences using technology in various writing situations: my writing process, collaborative publishing, my M.A. internship, online tutoring, and my first experience teaching college English composition in a computer classroom.
8
Gardner, Michael Robert. "An expert writing model for story composition." Thesis, Loughborough University, 1991. https://dspace.lboro.ac.uk/2134/28306.
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First the thesis reviews the development of Intelligent Computer Assisted Instruction (ICAI) systems by outlining the different ways that computers have been used in education followed by a description of the functionality of ICAI systems in terms of the Hartley-Sleeman model of classification. This is followed by a discussion of the skills required within writing and their pedagogical context. The different strategies that have been applied to computer supported composition are then discussed with examples of systems where appropriate.
9
Fealy, Irina. ""Is it really a natural fit?": The construction of "technology" in composition studies." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2831.
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This thesis analyzes two popular computer assisted instruction teaching platforms: Daedalus Integrated Writing Environment (DIWE) and Blackboard (BB). The major focus of the exploration is to find out whether or not these programs are really a "natural fit" with the high expectations of new rhetoric compositionists.
10
Armetta, Jill. "An epistemological study wiki in the composition class /." Laramie, Wyo. : University of Wyoming, 2007. http://proquest.umi.com/pqdweb?did=1402169541&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.
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Colby, Richard James. "Computers and composition communities: Solidarity as a research paradigm." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2322.
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After a brief history of composition studies demonstrating a community realizing the need for more inclusive research practices, this thesis shows composition struggling with its identity as an academically legitimized discipline.
12
Atkins, Anthony T. "Digital deficit : literacy, technology, and teacher training in rhetoric and composition programs." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1301627.
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This dissertation addresses three distinct areas of composition: literacy,technology, and teacher training. The research questions I investigate are as follows:Are graduate programs in rhetoric and composition offering preparation for teaching new literacies, especially with digital technology? If so, what is the nature of that training?Does the faculty within a program perceive that training to be effective? Is thattraining perceived to be effective by graduate students?How do individual programs shape their graduate technology training to reflectand manifest specific programmatic agendas and goals?The first two sets of research questions are investigated using survey research methods. The last research question is addressed via case study methods.Using a multi-methodological research design that includes a national survey and two institutional case studies allows me to combine methodologies to draw meaningful conclusions from the data. For example, the survey helps to provide a brief sketch of the state of technology training in rhetoric and composition programs as well as universities, while detailed case studies provide a context that illustrates how the integration of technology into both the university and rhetoric and composition program affects teacher training. The survey demonstrates that many programs do not require courses or workshops that extend special help to those teaching in computer classrooms especially as technology relates to new literacies. Information from the survey also indicates that rhetoric and composition programs have no procedures in place to assess the state of technology training for new teachers and TAs. This dissertation offers one way of assessing technology training.The case studies reveal that the two universities have grand visions and broad technology initiatives. However, a closer look at university mission statements and specific rhetoric and composition programs reveals that the integration of technology is sometimes a less than smooth one. In one case, the department struggles to implement technology at the grass roots level, while another department, despite the inconsistencies apparent at the university level, seems to succeed at both integrating technology and training new teachers to address the new literacies produced by those digital technologies.Department of English
13
Reynolds, Nicholas J. "Primary school creativity and composition in a professional level music software environment." Connect to thesis, 2001. http://repository.unimelb.edu.au/10187/1238.
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This paper provides an investigation into the use of professional level music software as a learning tool for creativity and composition in primary school children. The researcher believed that music and sound editing was under-used in schools and that children could: -work successfully with that type of software -work creatively with the software -benefit from its use. A small case study was used to expose the participants (eight children from Grades 3-6) to two professional level music software applications: Cakewalk Pro Audio 9 and Cool Edit 2000. The children explored the software and completed set tasks over a ten-week period. Data, in the form of the students’ work, taped copies of all sessions, interviews and researcher reflections, were analysed to present an understanding of the creative and compositional processes and products. In addition, all student pieces were recorded onto CD. The analysis of data suggests competent use of both software applications as well as satisfactory completion of set tasks. The data also indicate that the participants were able to operate at compositional levels beyond their age and musical skills and knowledge. Conclusions are drawn to suggest that, in this case, the use of this software has assisted the creative process and has allowed these children the opportunity to compose and construct pieces that could not have been constructed without the software. (For complete abstract open document)
14
Ohlsson, Patrik. "Computer Assisted Music Creation : A recollection of my work and thoughts on heuristic algorithms, aesthetics, and technology." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2090.
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Denna text är delvis en dokumentation av min egna resa inom datorbaserat tonsättande, specifikt inom algoritmisk komposition. Det är även ett utforskande av den tankevärld som finns i anknytning till dessa metoder – där estetiska koncept och konsekvenser diskuteras. Texten kommer huvudsakligen att beröra metoder som gynnas av eller möjliggörs av teknologi. Jag har försökt att närma mig dessa ämnen holistiskt genom att diskutera allt från estetik, teknik, till konkreta realiseringar av särskilda musikaliska idéer. Till detta tillkommer även många notexempel, lite kod, och illustrationer – specifikt för att stödja förklaringarna av, för många musikstudenter, främmande utommusikaliska koncept.
15
Tang, Joyce Wai-chung. "Suite for virtual double bass : a three dimensional composition based on original digital sounds created by computer assisted transformation of original recorded sound samples." HKBU Institutional Repository, 1998. http://repository.hkbu.edu.hk/etd_ra/130.
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Deranger, Brant S. Raign Kathryn Rosser. "Blurring the lines between instructor-led and online learning an evaluation of an online composition curriculum on the bleeding edge /." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3980.
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Braxton, David Harvey. "Write it right: Learning how to write an essay about literature through technology." CSUSB ScholarWorks, 1995. https://scholarworks.lib.csusb.edu/etd-project/1075.
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Rudd, Rebecca Lynn. "Electronic dictionaries in the ESL composition class." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2893.
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This thesis examines the use of electronic dictionaries by ESL students. In particular, it considers how, when and why students use electronic dictionaries in their writing processes. It also explores the extent to which students use words found in an electronic dictionary appropriately in their texts and whether electronic dictionary use influences their long-term acquisition of vocabulary.
19
Cropley, Cecily. "The effects of the provision of an interactive teaching program and word processors on the writing of year 9 students with learning disabilities." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2000. https://ro.ecu.edu.au/theses/1349.
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Three male year nine students with learning disabilities were given an intervention program that involved use of a word processor to write science fiction stories. The program was conducted over a five-week period. The effects of the use of the word processor alone were compared to the effects of the provision of an interactive teaching course program in conjunction with a word processor. The treatment program was a single subject treatment design. One participant's writing improved to an equal extent whether or not an interactive teaching program was provided. A second participant's fluency, spelling and the number of unique words written improved more if an interactive program that provided feedback were provided than if he used the word processor alone. The mechanics of his writing improved regardless of the provision of an interactive program. The third participant's spelling improved more if an interactive teaching program that provided feedback were provided. The mechanics of his writing improved regardless of the provision of the interactive program.
20
Hansman-Ferguson, Catherine A. "Writing with computers : a study of adult developmental writers." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/941576.
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Many adults who enter universities to continue their education are placed in developmental or basic writing classes. With the prevalence of computers on university campuses, some of these writing classes are taught in computerbased classrooms, which may cause adult learners to be apprehensive of both writing and computers. Previous research studies regarding writing and computer apprehension have examined traditional age college students, ignoring how the social context of the computer-based classroom and the computers used as tools for writing may affect adult learners' attitudes toward both writing and computers. The purpose of this descriptive study of adult developmental writers was to examine their perceptions of the effects of computers in a computer-based writing classroom, focusing on how the context of the classroom, including the social situation within the computer-based classroom, influenced their attitudes and apprehension toward both writing and computers.In order to obtain scores that indicated students' apprehension toward writing and computers, the Daly-Miller Writing Apprehension Test and the Loyd and Gressard Computer Attitude Survey were given to adult learners (n=41) at the beginning and the end of the semester to determine changes in students' apprehension. Additional data from interviews, observation reports, and journals of twelve adult learners allowed the researcher to examine students' perceptions of their interactions with other students and between students and their computers, thus promoting an understanding of the context in which learning to write took place.Findings indicated that adult learners' apprehension scores toward writing and computers decreased by the end of the semester in the computer-based classroom. Qualitative data revealed that the computer-based classroom provided a context that enabled students to form supportive peer groups which helped and impacted their writing, allowing them to develop fluid processes for writing with computers.This study has particular relevance for understanding how adults learn to write in various settings. Adult learners are a special population with unique needs. Apprehension toward writing and computers affects adult learners' attitudes toward writing, many times causing them to drop out of educational programs. This study illuminates the problems and feelings adults face as they learn to write using computers.Department of Educational Leadership
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Fye, Carmen Michelle. "Composition and technology: Examining liminal spaces online." CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/1950.
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This thesis examines how composition studies have been, and continue to be, shaped by the cultural values of exclusion; this field is "continually magnif[ied] and reproduc[ed] in the complex social conditions connected with those values in fundamental ways much like educational systems in general."
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Lam, Siu, and 林兆. "Evaluation of using ICT in teaching tertiary English writing." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B44139378.
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Deranger, Brant. "Blurring the Lines Between Instructor-Led and Online Learning: an Evaluation of an Online Composition Curriculum on the Bleeding Edge." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3980/.
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The contemporary classroom currently faces an evolving world of computer based training, online courses, instructor-led learning and several blended approaches in-between. With the increased presence of computers and communication in every facet of students' lives, students have changed to adapt to the continuous presence of technology in their daily lives. These recent rapid developments have changed the relationship between technology and communication. Indeed, communication and technology have become linked to such a degree that it is difficult to differentiate one from the other, thereby altering our rhetorical situation as instructors. Instructors can no longer deny the presence of technology in the contemporary classroom, much less in the contemporary composition classroom.
This case study serves as a post-modern analysis of the technology based blended classroom. A gap exists between what online learning is (being) today and what it is (becoming) tomorrow. This dissertation explores the gap by examining two rich data sources: online visitor navigational patterns and instructor interviews. The fundamental ideas that this text explores are the following:
- Web server logs and PHP logs can be analyzed to yield relevant information that assists in the design, architecture, and administration of online and blended learning courses.
- Technology in the writing classroom does not necessarily solve traditional problems associated with the composition classroom. Technology is a tool, not a solution.
- Technology has changed the rhetorical situation of the composition classroom. As a result, instructors must adapt to the changed rhetorical environment.
Via this study, readers will hopefully gain a better understanding of the relatively unexplored margins between instruction, composition and technology paradigms. Instructors, trainers, technical writers, pedagogues, industry and academia alike must step forward to research technology-assisted pedagogy so that they can de-privilege the paradigms that position technology itself as a solution, and move forward toward realistic and real-world expectations for instructors in technology mediated learning environments.
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Livermore, Joan, and n/a. "An examination of the effects of gender, age, and computer use on the process and products of misical composition in primary school children." University of Canberra. Education, 1992. http://erl.canberra.edu.au./public/adt-AUC20060405.162334.
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The purpose of this study was to build upon recent research dealing
with the ways children of primary school age operate when
composing original music. Through examining the musical and
structural content of the musical products, and linking these
features to working procedures in the composition process, the
aim was to explore the interaction between process and product,
and to identify any effects attributable to gender, age, or computer
use.
Control of the circumstances in which the compositions were
generated made possible the examination of the activity of the
subjects during the working period, providing data which was
linked to features of the compositional products for possible "cause
and effect".
Compositions were collected from 60 primary school children aged
7, 9 and 11 years. Half of the students in each age-group used the
computer to help them work out their music. There was equal
gender representation in each subgroup.
The working session of ten minutes for each child was recorded,
and later analysed, to discover the pattern of activities taking place
during the composition process.
A second procedure was then undertaken which involved analysis of
the final versions of the compositions of each subject. The pieces
were evaluated by a panel of six judges who identified levels of
achievement on a range of musical and structural items. The
process and product data were analysed to ascertain the influence
of gender, age and computer use. Any significant interactions
between process variables and product variables were also noted.
The research design proved to be useful and functional in providing
empirical data that allowed detailed statistical analysis. The major
significant results related to the process were:
1. Age was a significant factor in subjects' use of the
compositional activities (i.e. exploration, development and
repetition [implying closure] of musical ideas).
2. Computer-users developed their musical ideas more
quickly during the compositional process than non-computer
users.
3. There were significant 2-way interactions between age
and computer use.
The judges' evaluations of the product generated data that
supported previous research that found a developmental sequence
of stages in musical composition. Age was shown to be a significant
influence in all factors derived from the developmental model. The
significant period was between seven and nine years in all cases.
Although significant differences attributable to gender were not
revealed overall, females were predominant in the high scoring
groups on some product variables.
The influence of the computer emerged most clearly in profiles of
subjects who received high/low scores from all judges in each of
the main product variables. In the high scoring groups, computer
users outnumbered non-computer users in every case.
Little is known of the effects of the use of the computer by young
children for composition. Further research is indicated in order to
understand the impact of the computer on the creative and
cognitive processes in music. There is a need for greater
understanding of its role in this area of music education.
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Herrlein, Julio Cesar da Silva. "Das alturas ao ritmo : teoria dos conjuntos rítmicos como ferramenta composicional." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/179457.
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Esta tese de doutorado divide-se em duas partes: a primeira trata de uma Teoria dos Conjuntos Rítmicos, e a segunda traz o Portfolio de Composições desenvolvidas no período do doutorado. A Teoria dos Conjuntos Ritmicos apresenta um sistema de organização rítmica paralelo ao sistema de organização de alturas, tendo como ponto de partida a Teoria dos Conjuntos Musicais (TCM), tal como organizada por FORTE (1973), além de uma adaptação do time-point-system (BABBITT, 1962). A partir da sistematização da TCM, e também de noções da Teoria dos Conjuntos Diatônicos (TCD), essa abordagem sintética permite estabelecer uma conexão entre aspectos básicos da harmonia e da cifragem de acordes com a organização rítmica. A um só tempo, em um catálogo completo, são relacionadas as famílias de conjuntos de alturas e cifras cordais, com suas respectivas contrapartes rítmicas. A motivação musical para esta investigação acerca dos ritmos surgiu pelo interesse nos ritmos dançantes e repetitivos, denominados timelines (TOUSSAINT, 2013), comumente utilizados na chamada música popular As timelines dançantes refletem propriedades similares às dos conjuntos diatônicos e, por essa razão, esta tese apresenta algumas propriedades dos conjuntos diatônicos de alturas, traçando um paralelo com suas contrapartes rítmicas. Essas relações também aparecem no portfolio de composições, caracterizando alguns procedimentos utilizados. O portfolio de composições, que inclui uma composição para orquestra sinfônica, é tematizado a partir da dualidade transparência/opacidade, abordando algumas diferenças essenciais, do ponto de vista da audibilidade, entre os resultados oriundos de técnicas variadas de composição. Este estudo sobre Teoria dos Conjuntos Rítmicos ajudará na abordagem analítica da minha produção composicional na música popular, trazendo uma maneira sistemática de entender e extrapolar alguns aspectos já utilizados na minha prática como compositor e improvisador.This doctoral dissertation is divided into two parts: the first deals a rhythmic set theory, and the second contains the portfolio of compositions developed during this period of studies. This dissertation presents a system of rhythmic organization parallel to the musical set theory pitch class organization FORTE (1973), as well as an adaptation of the time-point-system (BABBITT, 1962). From the standpoint of the traditional set theory, and also from the diatonic set theory, this unified approach allows to estabilish a connecting tissue of basic aspects: from the harmony and chords symbols to the rhythmic organization. At one time, in a complete catalog, the families of pitch class sets and chord symbols are related to their respective rhythmic counterparts. The musical motivation for this research came from my interest in the swinging and groovy repetitive rhythms called timelines (TOUSSAINT, 2013), commonly used in popular music. These dancing timelines have properties similar to those of the diatonic sets, and for this reason, this dissertation presents some properties of the diatonic pitch class sets, drawing a parallel with their rhythmic counterparts. These relationships also appear in the portfolio of compositions, characterizing some procedures used. The portfolio of compositions, which includes a composition for symphony orchestra, is presented form the standpoint of a duality between transparency and opacity. This duality address the essential differences in the audibility of the results from various composition techniques. This study of Rhythmic Set Theory will serve as an analytical approach of my compositional output in popular music, with a systematic way to understant and to extrapolate some aspects already used in my practice as composer and improviser.
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Rode, Mary. "A Study Concerning the Use of Microcomputers for Word Processing in College Freshman Composition at a Community College." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc332392/.
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The purpose of this study was to determine the effect of using word processing and proofreading software in freshman composition at a community college. This study used pretest and posttest measures to determine if significant differences in the improvement of composition skills occurred between students in a composition class that did not use microcomputers and students in a composition class that did use microcomputers. Objective tests and writing samples were used as measurements. The population for the study consisted of students enrolled in freshman composition classes at a two year community college. Students self-selected enrollment in each class. Three hundred students who completed the pretest and posttest measures and completed the course were included in the study. There was no significant difference found in the improvement of writing skills between the two groups as measured by the objective test or the writing samples. There was a significant difference found in the withdrawal rate of students from the classes. The computer class had a significantly higher withdrawal rate than the non-computer class.
27
Buck, Alex Kantorowicz [UNESP]. "Fantasia essata: o computador a serviço da música." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/157503.
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Durante o período renascentista, Leonardo da Vinci cunhou o termo Fantasia Essata para descrever processos nos quais arte e ciência estivessem integrados, quando dispositivos desenvolvidos pelo conhecimento científico se colocavam a serviço da invenção artística. O objetivo do primeiro capítulo da dissertação é apresentar uma discussão sobre os efeitos produzidos pela inserção dessas máquinas, desenvolvidas especificamente para o fazer musical, sobre o campo da composição. Para isso, parti da escolha de alguns exemplos de máquinas musicais respeitando uma linha cronológica que compreende o período de meados do século XIX, com a invenção dos autômatos de Jaques de Vaucanson, aos dias atuais, com o surgimento do computador e, mais recentemente, da inteligência artificial. No segundo capítulo, trato estritamente do processo de elaboração das duas obras acusmáticas que produzi durante o Mestrado — Jazzex no1 (octofônica) e Fantasia Essata (estéreo) — e apresento uma breve discussão sobre as particularidades do processo composicional acusmático, uma modalidade de composição que estrutura o discurso a partir de sons prontos (sons concretos). No terceiro capítulo, apresento alguns patches produzidos durante o Mestrado nas linguagens de programação SuperCollider e OpenMusic.
During Renaissance period, Leonardo da Vinci coined the term Fantasia Essata to describe processes in which art and science were integrated; when devices developed by scientific knowledge were used to serve artistic invention. First chapter’s main goal is to present a discussion about effects produced by incorporation of these machines, developed specifically for musical making, into compositional field. To accomplish this goal, I arbitrarily chose some examples of those musical machines, respecting a chronological line that covers the mid-nineteenth century, with the invention of Jaques de Vaucanson’s automata, to the present day, with the emergence of computer and, more recently, artificial intelligence. In the second chapter, I deal strictly with aspect concerning the elaborating of the two acousmatic works produced during my Master degree - Jazzex nº1 (octophonic) and Fantasia Essata (stereo) - and a brief discussion on the particularities of acousmatic compositional process, a composition modality in which the discourse is constructed from ready-made sounds (concrete sounds). In the third chapter, I present some patches produced during my research in the programming languages SuperCollider and OpenMusic.
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Oxford, Raquel Malia Nitta. "Effects of Technology-Enhanced Language Learning on Second Language Composition of University-Level Intermediate Spanish Students." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4688/.
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Today's global culture makes communication through writing in a foreign language a most desirable tool to expand personal and professional relations. However, teaching writing is a complex, time-consuming endeavor in any language. Foreign language teachers at every level struggle to fit writing into an already full curriculum and need the most effective methods and tools with which to teach. Technology may provide a viable scaffold to support writing instruction for teachers and students.
The purpose of this research was to determine any benefits of weekly/structured, in-class, computer-assisted grammar drill and practice on the composition quality and quantity of intermediate university Spanish learners. A related purpose was to determine whether students who participated in such practice would access a computer-based writing assistant differently during writing than students without the treatment. The research design was a nonequivalent groups pretest-posttest design. Fifty-two subjects' compositions were graded with both holistic and analytic criteria to analyze composition quality and quantity, and statistical analyses assessed interactions of treatment and effects. The computer-based Atajo writing assistant, which could be accessed during composition, had a logging feature which provided unobtrusive observation of specific databases accessed by each student. There were no statistically significant differences found between the two groups in overall composition scores or in subscale scores. Improvements across time were observed in composition performance for both the experimental and control groups. The implementation of computer-based grammar and vocabulary practice did show a small to moderate positive effect; that is to say, students who received weekly, structured computer grammar and vocabulary practice had higher scores for composition quality and quantity on the posttest measure and accessed the databases less than the control group. The consistent positive trends in the composition data results intimate that over a more extended period of time, computer-based grammar instruction might enhance the quality and quantity of written composition in the foreign language classroom.
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Channon, Stuart Angell Maureen E. "Effects of three writing support programs on the writing quality and attitudes of Hispanic junior high students with learning disabilities." Normal, Ill. Illinois State University, 2004. http://wwwlib.umi.com/cr/ilstu/fullcit?p3196662.
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Thesis (Ed. D.)--Illinois State University, 2004.Title from title page screen, viewed May 23, 2006. Dissertation Committee: Maureen E. Angell (chair), Jeffrey P. Bakken, Howard P. Parette, Jr., George Peterson-Karlan. Includes bibliographical references (leaves 132-149) and abstract. Also available in print.
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Ladd, Michael J. "An interactive CD-ROM for the instruction of 'classic' sound synthesis methodologies." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1210534.
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The purpose of this study was twofold: first, to collect information relating to `classic' sound synthesis methodologies which have formed the basis of current synthesis methods into one comprehensive report, and secondly, to describe and develop an interactive CD-ROM as a new tool for the instruction of these synthesis methods. The historic trend has been the acquisition of sound synthesis through direct interaction with a particular piece of software or hardware. The intentions of this interactive media are to allow students to form conceptual knowledge, and develop the ability to perceive timbral differences produced by these methods. This environment allows students to interact at their own speed and assist in customizing their learning development.
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Moore, Jeffrey Salem. "Digital Literacy and Composing Practices of Second Language Students: A Student Perspective on Writing, Technology, and Privilege." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu148715983643726.
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Durel, Patrick. "Dynamiques interactives dans le cadre d'activités de révision collaborative assistée par ordinateur." Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENL030.
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L'objet de la présente étude est un dispositif didactique mis en œuvre avec des étudiants anglophones en français langue étrangère, dans une université australienne. Elle examine l'impact que peuvent avoir l'aspect instrumenté et l'aspect collaboratif lors d'un travail de révision collaborative assistée par ordinateur. Elle envisage également en quoi une telle activité peut être vectrice d'apprentissage. Le corpus analysé se compose de cinq sessions de travail enregistrées (actions d'écran) et transcrites. Ayant conceptualisé cette activité comme une succession de résolutions de problème, nous avons retenu la séquence de résolution de problème comme unité d'analyse. La méthodologie retenue est hybride. Elle fait appel à l'analyse qualitative de certaines séquences et à une analyse quantitative s'appuyant sur les questionnements d'une base de données construite à partir d'une typologie définissant les paramètres propres aux séquences observées. Nous montrons comment les dynamiques interactives reposent sur l'élaboration d'un espace commun de résolution impliquant une négociation tripartite entre scripteur, co-réviseur et Correcteur. L'activité des partenaires oscille entre deux pôles. Le premier consiste à traiter les uns après les autres les soulignements parsemant le texte, les opérations cognitives sous-jacentes étant alors intimement liées aux aspects instrumentés. Le deuxième pôle consiste à relire le texte en dehors de ce que signale le logiciel et à porter son attention sur les questions de formulation, de syntaxe, de cohérence et de cohésion. La dynamique d'une session résulte de la distribution et de la prégnance de phénomènes appartenant à ces deux axes, la capacité des signalements du Correcteur à circonscrire l'activité de révision et les processus de relecture dépendant en partie du degré d'expertise rédactionnelle des partenaires. Certains signalements et propositions du Correcteur sont générateurs de débats, d'interrogations et d'échanges de point de vue, ce qui permet aux membres des dyades de mobiliser certaines connaissances, potentiellement de les affiner, voire d'en acquérir d'autres. Les partenaires à travers l'aspect collaboratif se trouvent également exposés à de nouvelles façons de gérer l'activité, d'utiliser les divers outils à leur disposition et de ce sur quoi peut se porter l'attention lors d'un travail de révision. Autant de phénomènes qui relèvent de ce que nous avons appelé la régulation assistée, laquelle semble emblématique du potentiel acquisitionnel de ce type d'activitéThe study examines the impact of both the collaborative and instrumented dimensions in a revision task where students, native speakers of English from an Australian university, were asked to revise a text they had written. The students were asked to work on an electronic version of their text with the help of a partner, a grammar assistant software, and an electronic bilingual dictionary. The study also examines whether such an activity can be conducive to learning and improve revision skills. Each of the five sessions' screen action was recorded as well as the partners' interactions which were subsequently transcribed. The revision activity in these sessions was conceptualised as a series of problem resolution sequences, the concept of problem resolution sequence chosen as the basic unit of analysis. A hybrid methodology was followed, using both quantitative and qualitative analysis. Certain sequences were analysed in details while the quantitative approach relied on the questioning of a data base built using parameters defining characteristics of resolution sequences. We show how for each sequence a joint problem space is created as the result of negotiations between writer, co-revisor and grammar assistant software input. The revision activities observed follow two distinct trends. On the one hand, students' attention focusses on items the assistant software has underlined on the text. In this case, underlying cognitive processes are intricately linked with the instrumented aspect of the activity. On the other, rereading and revision strategies focus on formulation of ideas, sentence construction, eliminating redundant information, cohesion and coherence issues. Distribution of revision processes along these two axis determines a session dynamics, the capacity of the grammar assistant to overall determine revision processes depending to a certain extent on the level of expertise of the partners. In some sequences, grammar assistant's underlines or explanations generate debates and questions among partners who are necessarily drawn to evaluate the assistant's assessment, express their opinion and argue their case. They thus mobilise grammatical knowledge, potentially refine it, or acquire new rules. The collaborative aspect of the activity also allows partners to be exposed to new revision strategies as well as new ways to use the various software tools at their disposal when attempting to solve problems. Their views on what revising a text means may change in the process. All these phenomena pertain to what we have described as assisted regulation procedures and as such seem to point to the learning and teaching to revise potential of such an activity
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Hatter, Alicia Nicole. "Levelling Up: Designing and Testing a Contextual, Web-based Dreamweaver 8 Tutorial for Students with Technological Aptitude Differences." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-08202007-163527/.
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Thesis (M.A.)--Georgia State University, 2007.Title from file title page. Jennifer L. Bowie, committee chair; George Pullman, Elizabeth Lopez, committee members. Electronic text (160 p. : col. ill.) : digital, PDF file. Description based on contents viewed Mar. 27, 2008 . Includes bibliographical references (p. 149-152).
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Sun, Derjen Jeney. "Teaching young children compositional concepts to enhance music learning in a computer learning environment." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1244216827.
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Bridges, Deanna L. (Deanna Lee). "The Impact of Word Processing on the Written Expression of Students with Learning Disabilities in the Area of Written Expression." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279365/.
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The purpose of this study was to investigate the effect of word processing on the quality of written expression of students with learning disabilities identified in the area of written expression. A examination of existing research revealed that most studies do not focus on word processing independent of writing instruction. Therefore, the consensus among researchers that word processors make a difference is limited by the influence of instruction within the research setting. Therefore, this study sought to determine the impact made solely by word processing by controlling for instruction. The 75 students who participated in the study represented three groups--students with learning disabilities identified in the area of written expression (LD-W), students with learning disabilities identified in an area other than written expression (LD-O), and general education students (NA). Each student completed four writing samples: (a) descriptive - handwritten, (b) informative - handwritten, (c) descriptive - word processed, and (d) informative - word processed. The writing samples were scored according to the TOWL-3 on the three Spontaneous Composite subtests (e.g., Contextual Conventions, Contextual Language, and Story Construction). In addition, Word Perfect 6.1- Grammatik was used to determine the number of syllables, words, and sentences in each writing sample. A multivariate analysis of variance (MANOVA) was used in the analysis in conjunction with univariate F-Tests and Tukey's Honestly Significant Difference (HSD) test. General education students scored consistently higher than LD-W on all subtests even when handwriting and word processing were considered. They also generated more syllables, words, and sentences than students with learning disabilities. In addition, all students scored higher on subtests when writing descriptive samples rather than writing informative samples. No practically significant results were determined for the effect of word processing. Therefore, word processing alone does not have an impact on students' quality of writing. It is simply a tool in the writing process. These results do not suggest that schools disregard the use of technology. Rather, teachers must continue to use word processors during writing instruction but should focus on providing good writing instruction.
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Chan, Yan-ming Franklin, and 陳仁明. "A study of the effects of the medium of word processing and electronicfeedback on intermediate ESL students' attitudes to writing andrevision strategies." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31944759.
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Yang, Ya Hui, and 楊雅惠. "A STUDY OF MUSICAL COMPOSITION TEACHING THROUGH COMPUTER-ASSISTED." Thesis, 1993. http://ndltd.ncl.edu.tw/handle/43852613388583752104.
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Takahashi, Keitaro. "The development of corpus-based computer assisted composition program and its application for instrumental music composition." Doctoral thesis, 2017. http://hdl.handle.net/10400.14/28063.
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In the last 20 years, we have seen the nourishing environment for the development of
music software using a corpus of audio data expanding significantly, namely that synthesis
techniques producing electronic sounds, and supportive tools for creative activities
are the driving forces to the growth. Some software produces a sequence of sounds by
means of synthesizing a chunk of source audio data retrieved from an audio database
according to a rule. Since the matching of sources is processed according to their descriptive
features extracted by FFT analysis, the quality of the result is significantly
influenced by the outcomes of the Audio Analysis, Segmentation, and Decomposition.
Also, the synthesis process often requires a considerable amount of sample data and
this can become an obstacle to establish easy, inexpensive, and user-friendly applications
on various kinds of devices. Therefore, it is crucial to consider how to treat the
data and construct an efficient database for the synthesis. We aim to apply corpusbased
synthesis techniques to develop a Computer Assisted Composition program, and
to investigate the actual application of the program on ensemble pieces. The goal of
this research is to apply the program to the instrumental music composition, refine its
function, and search new avenues for innovative compositional method.
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Lin, Jen-Hsiang, and 林仁祥. "A computer assisted test item composition system for elementary learners of Chinese." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/20712696906131423617.
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碩士國立政治大學
資訊科學學系
96
We apply the techniques of natural language processing to build a computer-assisted item generation system. The system can assist the teachers for elementary Chinese to construct tests items and to manage students’ test records. In the aspect of constructing tests items, this system provides the functions including the recognition of phonetic symbols, Chinese cloze tests, identifying incorrect Chinese characters, quantifier terms, Chinese phonetics and reconstructing Chinese sentences. By using the system, the teachers can analyze the historical records of students’ answers online. By understanding the strength and weakness of a specific student or a certain group of students can be beneficial to adaptability of teaching activities.
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Yi-Chang, Shan, and 單益章. "A Research and Implementation for Computer-Assisted Mnemonic System:Research of Automatic Sentence Composition." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/25134143865994182737.
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碩士國立臺灣師範大學
資訊教育研究所
91
In this thesis, we develop a system called Computer-Assisted Mnemonic System (CAMS), which can assist people to memorize some meaningless numeric strings with Chinese sentences. We analyze phonetics of the numbers from 0 to 9 and find out 114 rules of similar syllables. The rules are matched with the lexicons corpora established by CKIP (Chinese Knowledge Information Processing) Group of Academia Sinica in the Republic of China. Our system finds 12680 lexicons that can be used in composing sentences. We use a transformation mechanism to segment a series of numbers and thus compose sentences. In the research, we use dynamic programming to implement the unification process of CAMS in O(n3*(m+y)) time by using O(n2*m) space of memory, where n is the length of the input numeric stings and m is the number of compositional sentences that we want to output, y is the times that our system gets unsatisfied composition results. Among the satisfied composition results, we utilize evaluation function to judge whether each of those composition sentences is suitable for us to memorize or not. In this process, the system will generate a binary parsing tree of sentences for further research in the future. Experimental results show that our system has a high degree of mnemonic effect for most users.
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Lane, Matthew. "Negotiating the frontier between computer-assisted composition and traditional writing : the utility of each and their effective cross-integration." Thèse, 2017. http://hdl.handle.net/1866/20077.
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Singer, Steven A. "Multiple case study of freshman writing students on a networked writing environment." Thesis, 1994. http://hdl.handle.net/10125/9568.
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Meadows, Monica Roseman. "Development and evaluation of an interactive multimedia program on teaching nutrient composition of food vitamin A and iron /." Thesis, 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3116118.
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Dall'Ara-Majek, Ana. "Stratégies de composition dans la musique mixte et assistée par ordinateur." Thèse, 2011. http://hdl.handle.net/1866/6891.
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La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (http://www.bib.umontreal.ca/MU).La recherche propose une analyse des stratégies qui entrent en jeu dans la composition de musique mixte et la composition assistée par ordinateur. Elle met en relief les caractéristiques de trois écritures (instrumentale, électroacoustique et programmation informatique) afin de les postuler comme fondements de différentes approches musicales. Ces approches sont ensuite examinées en tant qu’entrées possibles dans un projet, démarches impliquant un statut spécifique du compositeur, et caractéristiques qui résultent de leur interaction, afin de former l’ensemble des stratégies de composition. À travers la réalisation de projets musicaux, la recherche propose d’appliquer quatre stratégies différentes dans l’objectif d’explorer de nouvelles méthodologies. L’expérimentation a mis en évidence les facteurs conduisant au respect ou à la déviation des partis pris, et a ouvert la voie au questionnement de l’influence du « faire » sur « l’entendre ».
This research proposes an analysis of the strategies that come into play in the composition of mixed and computer-assisted musical works. It highlights the characteristics of three compositional practices (instrumental, electroacoustic, and computer programming) in order to represent them as the foundation of different musical approaches. These approaches are then analyzed as possible starting points for a project, as processes implying a particular status of the composer and characteristics which result from their interaction, in order to form the entirety of compositional strategies. Through the realization of musical projects, the research proposes to apply four different strategies with the goal of exploring new methodologies. This experimentation has demonstrated the factors leading to the respect for or the deviation from biases and has opened the way to the questioning of the influence of the “doing” on the “hearing”.
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Crescenzi, Patrizia. "Word processors and the teaching of written composition : a study of high school English teachers’ attitudes, perceptions, and experiences." Thesis, 2002. http://hdl.handle.net/2429/12438.
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In 1989, Herrmann reported that the lack of computer use in schools is not because the schools
are not purchasing computers, but because computers "...in classes, such as English, ... are not
being used as effectively as they might be" (p. 112). Thus, this current thesis is a relational study
that sought to understand how high school English teachers' attitudes towards, perceptions of,
and experiences with computers affected their reported implementation of word processors in the
teaching of written composition. The findings of this study were based on the results of 52
surveys completed by high school English teachers teaching in a large urban centre. The survey
was a combination of multiple-choice, Likert-scale, and open-ended questions and the data were
analysed to note relationships between and trends among variables.
Ninety percent of the respondents reported spending no time teaching written composition with a
word processor, and only 3% of the respondents said they felt confident in their ability to
integrate computers into the teaching of written composition. Further data analysis indicated that
these teachers exhibited varying and conflicting attitudes, perceptions, and experiences.
Teachers' "Readiness to Implement" (i.e., their willingness to receive word processors in the
classroom and some self-reports of present computer-related practices) produced the strongest
correlation with "Current Practice" (e.g., teaching the writing process and using the word
processor to teach pre-writing, drafting, revising, and editing), while "Attitude," "Perception,"
and "Professional Development Experience" showed limited and localized effects (correlating
with some gender, age, or years of experience groups and not others). Consistent with the
findings of previous studies, only negligible differences were noted between male and female
respondents. However, the two respondents over the age of 60 scored higher (M =4.4) on the
"Attitude" scale than their junior colleagues, and the one respondent with 0-1 year of experience
scored lower (M = 2.0) than her colleagues with more English-Language Arts teaching
experience. Respondents in this study reported a limited amount of access to computer labs and
a weak infrastructure for supporting implementation.
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Camier, Cédric. "Processus de composition et inspiration scientifique." Thèse, 2015. http://hdl.handle.net/1866/19569.
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Lane, Matthew. "La poésie québécoise comme source d’inspiration musicale." Thèse, 2011. http://hdl.handle.net/1866/6292.
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Dall'Ara-Majek, Ana. "La pensée mixte : une approche de la composition par l'interaction des pensées instrumentale, électroacoustique et informatique." Thèse, 2016. http://hdl.handle.net/1866/16370.
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La « pensée mixte » est une approche de la composition caractérisée par l’interaction de trois pensées: la pensée instrumentale, la pensée électroacoustique et la pensée informatique. Elle prend la forme d’un réseau où le compositeur fait des aller-retours entre les trois pensées et réalise des équivalences paramétriques. La pensée instrumentale se rattache à la tradition de l’écriture occidentale, la pensée électroacoustique fait allusion aux pratiques du studio analogique et de la musique acousmatique, et la pensée informatique fait référence aux pratiques numériques de la programmation visuelle et de l’analyse spectrale. Des lieux communs existent où s’opèrent l’interaction des trois pensées: la notion du studio instrumental de Ivo Malec, la notion de musique concrète instrumentale de Helmut Lachenmann, la composition assistée par ordinateur, la musique spectrale, l’approche instrumentale par montage, la musique acousmatique s’inspirant de la tradition musicale écrite et les musiques mixtes. Ces domaines constituent les influences autour desquelles j’ai composé un corpus de deux cycles d’œuvres: Les Larmes du Scaphandre et le Nano-Cosmos. L’analyse des œuvres met en évidence la notion de « pensée mixte » en abordant la pensée électroacoustique dans ma pratique instrumentale, la pensée informatique dans ma pratique musicale, et la pensée instrumentale dans ma pratique électroacoustique.“Mixed-method thinking” is an approach to composition characterized by the interaction of three streams of compositional thought: instrumental, electroacoustic and computing-based. It takes the form of a network within which the composer goes back and forth between these three types of conceptualization and succeeds in finding equivalences between parameters. Instrumental thinking is connected to the Western notated compositional tradition, electroacoustic thinking alludes to practices derived from the analog studio environment and the acousmatic music tradition, and computing-based thinking refers to visual programming and spectral analysis practices. Common areas exist where all three forms of thinking interact: Ivo Malec’s notion of the instrumental studio, Helmut Lachenmann’s notion of musique concrète instrumentale, computer-assisted composition, spectral music, the montage approach to instrumental composition, acousmatic music inspired by the written musical tradition and genres combining instruments with fixed media or electronics. These areas comprise the influences around which I composed a corpus of two cycles of works: Les Larmes du Scaphandre and Nano-Cosmos. Analysis of these works demonstrates the notion of “mixed-method thinking” through the adoption of electroacoustic thinking in my instrumental composition practice, computational thinking in my musical practice, and instrumental thinking in my electroacoustic practice.
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Pelz, Ofer. "Vers une forme répétitive instable : recherche de nouveaux moyens d’expression par la répétition de gestes et de textures complexes." Thèse, 2016. http://hdl.handle.net/1866/21812.
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Carrilho, João Manuel Marques. "Estéticas da música informática : a energia musical irrealizada." Doctoral thesis, 2013. http://hdl.handle.net/10400.14/16723.
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Propomos um estudo interdisciplinar das estéticas da informática musical, que articule os
níveis histórico, analítico e crítico para chegar a novas perspectivas sobre a música
electrónica contemporânea. Partindo da ideia de música como arte-ciência (Varèse), da sua
noção de som cinético (como um processo), da redefinição radical do pensamento
composicional perante a emergência dos meios electrónicos (Schaeffer, Koenig, Xenakis),
chegamos à presente era digital, apoiados em novas teorias do som (e.g. Radulescu). Situação
inédita na história da música, as tecnologias de produção e distribuição encontram-se
reunidas num único meio, com consequências fundamentais para a criação musical
(composição e improvisação) e análise. O cerne do estudo será estabelecer uma historicidade
sincrónica da música informática e sua estética, a partir duma análise das dimensões sociais,
políticas, económicas e ideológicas (descrevendo as superestruturas técnicas e tecnológicas),
assim como a sua fundamentação psicológica, subjectiva e intersubjectiva.
Apresentamos um enquadramento conceptual da filosofia da música: a energia musical
irrealizada, concebido em co-autoria com Jorge Lima Barreto, e que é o firmamento teórico
para a prática da improvisação do duo Zul Zelub1, assim como de diversas obras de natureza
intercultural, interarte e intermédia. A energia musical irrealizada investiga o universo que
antecede a criação musical: Ideias musicográficas jamais escritas, imaginário poético sem
efectivação literária e artística, todos os gastos de energia criativa musical do irrealizado. Em
busca dum “elogio da Abertura” - da forma aberta e da indeterminação em direcção à música
intuitiva e à improvisação total - o objectivo é revelar alternativas estéticas, estabelecendo
contacto com a essência das circunstâncias dominantes.We propose an interdisciplinary study on the aesthetics of computer music, encompassing historical, analytical and critical standpoints to reach new perspectives on contemporary electronic music. Starting from the idea of music as an art-science (Varèse), of sound as a process, and from the radical redefinition of compositional thought caused by the emergence of electronic media (Schaeffer, Koenig, Xenakis), we arrive at the present digital era, supported by new theories of sound (e.g. Radulescu). Today, the production and distribution technologies are combined in one single medium, an unprecedented situation in the history of music, with fundamental consequences for composition, improvisation and analysis. The core of the study is to establish a synchronous historicity of computer music and its aesthetics, from an analysis of the social, political, economic and ideological (describing the technical and technological superstructures ), as well as their psychological, subjective and intersubjective basis. We present a conceptual framework of the philosophy of music – the unrealized musical energy, co-authored with Jorge Lima Barreto - which is the theoretical firmament for musical improvisation (Zul Zelub2), as well as several interartistic, intercultural and intermedia works. The unrealized musical energy investigates the universe which precedes musical creation: musicographical ideas never written before, poetic imagery without literary and artistic materialization, all expenses of the creative musical energy not yet made into existence. In search of a "praise of Openness" - from open-form and indeterminacy towards intuitive music and total improvisation - the aim is to reveal aesthetic alternatives, establishing contact with the essence of the prevailing circumstances.