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Letteratura scientifica selezionata sul tema "Time in music"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 30 luglio 2024

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Articoli di riviste sul tema "Time in music"

1

PARKER, IMOGEN. "The time of music: the music of time". Critical Quarterly 50, n. 3 (ottobre 2008): 43–76. http://dx.doi.org/10.1111/j.1467-8705.2008.00814.x.

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Butler, David. "The Days Do Not End: Film Music, Time and Bernard Herrmann". Film Studies 9, n. 1 (2006): 51–63. http://dx.doi.org/10.7227/fs.9.8.

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The tendency in most writing on the temporal properties of film music has been to note music‘s ability to establish, quickly and efficiently, a films historical setting. Although acknowledging this important function, this paper seeks to explore a wider range of temporal properties fulfilled by film music. Three aspects of musics temporality are discussed: anachronism (whereby choices of anachronistic music can provide the spectator with ways of making sense of a films subtext or its characters’ state of mind), navigation (the ability of music to help the spectator understand where and when they are in a films narrative) and expansion (musics ability to expand our experience of film time). The paper focuses on Bernard Herrmann, and his score for Taxi Driver (1976), and argues that Herrmann was particularly sensitive to the temporal possibilities of film music.

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Noble, Jason, Tanor Bonin e Stephen McAdams. "Experiences of Time and Timelessness in Electroacoustic Music". Organised Sound 25, n. 2 (agosto 2020): 232–47. http://dx.doi.org/10.1017/s135577182000014x.

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Electroacoustic music and its historical antecedents open up new ways of thinking about musical time. Whereas music performed by humans is necessarily constrained by certain temporal limits that define human information processing and embodiment, machines are capable of producing sound with scales and structures of time that reach potentially very far outside of these human limitations. But even musics produced with superhuman means are still subject to human constraints in music perception and cognition. Focusing on five principles of auditory perception – segmentation, grouping, pulse, metre and repetition – we hypothesise that musics that exceed or subvert the thresholds that define ‘human time’ are likely to be recognised by listeners as expressing timelessness. To support this hypothesis, we report an experiment in which a listening panel reviewed excerpts of electroacoustic music selected for their temporally subversive or excessive properties, and rated them (1) for the pace of time they express (normative, speeding up, or slowing down), and (2) for whether or not the music expresses ‘timelessness’. We find that while the specific musical parameters associated with temporal phenomenology vary from one musical context to the next, a general trend obtains across musical contexts through the excess or subversion of a particular perceptual constraint by a given musical parameter on the one hand, and the subjective experiences of time and timelessness on the other.

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Stamp, Laurie Nicholson. "Music time? All the time!" Day Care & Early Education 19, n. 4 (giugno 1992): 4–6. http://dx.doi.org/10.1007/bf01617468.

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Belouchrani, A., e M. G. Amin. "Time-frequency MUSIC". IEEE Signal Processing Letters 6, n. 5 (maggio 1999): 109–10. http://dx.doi.org/10.1109/97.755429.

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Lund, Kirstin. "Music through time". BMJ 326, Suppl S3 (1 marzo 2003): 030377. http://dx.doi.org/10.1136/sbmj.030377.

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Ovenden, Philippa. "JOHANNES VETULUS DE ANAGNIA’S PLATONIST MODEL OF MUSICAL TIME". Early Music History 41 (ottobre 2022): 303–45. http://dx.doi.org/10.1017/s0261127923000013.

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In the second half of the fourteenth century, the Italian music theorist Johannes Vetulus de Anagnia wrote a treatise named Liber de musica. Extraordinarily complex and replete with theological digressions, this work has to date remained little understood. Examining Liber de musica through the lenses of practice and philosophy sheds new light on this enigmatic text. Vetulus’s theory is in certain respects innovative, but in others it is conservative. Vetulus theorised a unique but impractical system of mensural divisions that synthesises and exhausts some of the central conceptual principles of contemporaneous performance. He makes sense of these divisions within a Platonist intellectual framework that reimagines Trinitarian theological concepts in a musical context. Approaching this treatise as far as possible on its own terms reveals that Vetulus developed a symbolic epistemology of music in which a mutual reciprocity could emerge between the tripartite structures of music, nature and the divine.

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Hagan, Kerry L. "The Intersection of ‘Live’ and ‘Real-time’". Organised Sound 21, n. 2 (30 giugno 2016): 138–46. http://dx.doi.org/10.1017/s1355771816000066.

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Real-time computer music is now common and ubiquitous, no longer a new or experimental practice. In its infancy, it helped to solve perceived issues with the fixity of tape pieces, a natural continuation in the practice of live electronics. However, real-time computer music did not have the same consequences as live electronic music. This situation engendered many discussions about the liveness of real-time computer music performances at the time. It is now 20 years past those first conversations, and it is important to revisit what is ‘live’ and how it applies to real-time musics. Additionally, in some ways, the language surrounding descriptions of fixed medium works, mixed works, live electronics and real-time computer music has evolved and, perhaps, even settled into conventions distinguishing musical approach and philosophies. This article first defines the language, not to proselytise, but rather to ground the argument. The conclusion asserts that liveness is a spectrum despite the fact that ‘live’ is often used categorically. Though one may have an intuitive understanding of what constitutes a ‘live’ event, this article explicitly articulates the most significantly contributive factors. The nature of real-time computer music is explored in relation to these factors of liveness. Using musical examples, this article shows that ‘real-time’ music does not guarantee a ‘live’ performance, contrary to what is typically held to be true. Instead, ‘real-time’ simply becomes a descriptor of compositional method, and any real-time work can exist along a broad range of the liveness spectrum.

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Cipriani, Gerald. "Editorial: Music in Time, Music in Space". Culture and Dialogue 9, n. 1 (19 ottobre 2021): 1–2. http://dx.doi.org/10.1163/24683949-12340092.

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Lum, Chee-Hoo. "My country, my music: Imagined nostalgia and the crisis of identity in a time of globalization". International Journal of Music Education 35, n. 1 (23 giugno 2016): 47–59. http://dx.doi.org/10.1177/0255761415619425.

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This qualitative research study seeks to examine definitions of Singapore music, music by Singapore composers and musics of/in Singapore through the eyes of tertiary music educators in a local institute of teacher education, and to determine pedagogical implications of such definitions in the space of the music classroom. Extensive informal interviews with seven tertiary music educators (key informants) serve as the methodological base for this phenomenological study. Findings suggest that music educators should give focus to the historical, socio-cultural and musical characteristics of the lived and living musical practices that comprise Singapore while being cognizant of contradictions brought forth by recent migratory flows and the emergence of a global city identity.

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Tesi sul tema "Time in music"

1

Hopkins, Valerie Elizabeth. "Music, time and redemption". Theological Research Exchange Network (TREN), 1996. http://www.tren.com.

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2

Cont, Arshia. "Modeling musical anticipation from the time of music to the music of time /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3336759.

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Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed Jan. 8, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: p. 281-295.

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Kelly, Edward. "Time in music : strategies for engagement". Thesis, University of East Anglia, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405711.

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4

Packard, Jonathan Frederick. "Released-time music teaching in Kansas". Thesis, Kansas State University, 1986. http://hdl.handle.net/2097/9944.

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Quinn, Sandra. "The perception of time in music". Thesis, University of Stirling, 2005. http://hdl.handle.net/1893/17763.

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This thesis is concerned with the perception of time in music with emphasis on tempo, emotion and time perception in music. Three studies were conducted to assess whether listeners were able to make consistent judgements about tempo that varied from piece to piece. Listeners heard short extracts of Scottish music played at a range of tempi and were asked to make a two alternative forced choice of 'too fast' or 'too slow' for each extract. The responses for each study were plotted as proportion too fast responses as a function of tempo for each piece, and cumulative normal curves were fitted to each data set. The point where these curves cross 0.5 is the tempo at which the music sounds right to the listeners, referred to as the optimal tempo. The results from each study show that listeners are capable of making consistent tempo judgements and that the optimal tempo varies across extracts. The results also revealed that rhythm plays a role, but not the only role in making temporal judgements. In the previous studies, it is possible that listeners might be using an average tempo from previously heard extracts to make every subsequent response. We wanted to assess this by presenting a single stimulus per participant and therefore remove any effects of the context on participant's responses. Using this technique we shall show that listeners can make 'too fast' and 'too slow' responses that are independent of previously heard extracts. In addition the data reveal similar results to those found in the first experimental chapter. The 3rd chapter deals with the effect of changes in the tempo of music on the perception of happy and sadness. Listeners heard short extracts of music that varied in tempo and were asked to make a 2AFC of happy or sad for each extract. Separate psychometric functions were obtained for each extract of music, and the points where these crossed 83% and 17% happy were calculated, and treated as happy tempo and sad tempo respectively. The results show that most extracts can be perceived as both happy and sad just by varying the tempo. However, the tempo at which extracts become happy or sad varies widely from extract to extract. We show that the sad and happy tempi are related to the size of the intervals (pitch changes) in the extract. In considering what might be involved in the perception of time in music we wanted to assess what effect small changes to a stimulus would have on perceived duration. We presented 2 auditory stimuli and show that the perceived duration of the test stimulus with a change in pitch increased as the size of the pitch change increased. The results are explained in terms of event strength where strong events cause perceived duration to increase whilst weak events are perceived to be shorter by comparison.

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Langley, Mikaela. "Exploring Authenticity in Old-Time Music". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/603.

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This thesis focuses on the question of authenticity in old-time music, and the ways in which it is studied in ETSU’s Bluegrass, Old-Time, and Country Music Studies program. In an academic setting, old-time is often studied in more of a historical or anthropological context and less as a specific style of music. Arguments for authenticity in this music have been made since the popularity of such films as “O Brother, Where Art Thou?” and “Cold Mountain”, which brought a lot of outside attention to the genres of bluegrass and old-time music, as well as defining the aesthetics associated with them. Contemporary composition and performance of old-time music exists, but is not typically studied in an academic setting, or evaluated for how it adds to the musical tradition. The intention of this thesis is to validate the existence of contemporary composition in old-time music, and its authenticity within the genre.

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Doyle, Robert. "Music and time : tempomorphism : nested temporalities in perceived experience of music". Thesis, Middlesex University, 2004. http://eprints.mdx.ac.uk/6878/.

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This thesis represents the results of a theoretical and practical investigation of acoustic and electro-acoustic elements of Western music at the start of the twentyfirst century, with specific attention to soundscapes. A commentary on the development of soundscapes is drawn from a multidisciplinary overview of concepts of time, followed by an examination of concepts of time in music. As a response to Jonathan Kramer's concept of 'vertical' music (a characteristic aesthetic of which is an absence of conventional harmonic teleology), particular attention is paid to those theories of multiple nested temporalities which have been referred to by Kramer in support of non-teleological musical structures. The survey suggests that new musical concepts, such as vertical music, have emerged from sensibilities resulting from the musical and associated styles of minimalism, and represent an ontological development of aesthetics characteristic of the twentieth century. An original contention of the debate is that innovations in the practice of music as the result of technological developments have led to the possibility of defining a methodology of process in addition to auditive strategies, resulting in a duality defined as 'tempomorphic'. Further observations are supplied, using findings derived from original creative practical research, to define tempomorphic performance, which complete the contribution to knowledge offered by the investigation. Tempomorphism, therefore, is defined as a duality of process and audition: as auditive tool, tempomorphic analysis provides a listening strategy suited to harmonically static music; as a procedural tool, it affords a methodology based primarily on duration.

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Bain, Matthew N. "Real Time Music Visualization: A Study in the Visual Extension of Music". Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1213207395.

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Brown, Katherine Ruth Butler. "Hindustani music in the time of Aurangzeb". Thesis, SOAS, University of London, 2003. https://kclpure.kcl.ac.uk/portal/en/theses/hindustani-music-in-the-time-of-aurangzeb(7c90c03c-e026-4c73-9cf8-e6fb630ecee1).html.

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The long reign of the last Great Mughal emperor, Aurangzeb (r.1658-1707), is highly controversial in Indian history. An orthodox Muslim, Aurangzeb is infamous for his bigoted and oppressive political and cultural policies. Scholars have long argued that he banned music throughout his reign, leaving a crucial period in Indian music history unexamined. This thesis investigates North Indian musical life in the time of Aurangzeb, through a critical analysis of musical discourse in contemporary Persian language sources. These demonstrate that far from having banned music, musical practice thrived under Aurangzeb. My thesis aims 1) to refute the story of the ban and demonstrate that music played an integral role in Mughal society throughout Aurangzeb's reign; 2) to establish an epistemology of Indo-Persian musical treatises that enables these overlooked sources to be studied in their intellectual and cultural contexts; and 3) to explore two major developments in Hindustani music at this time.

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Bacht, Nikolaus. "Music and time in Theodor W. Adorno". Thesis, King's College London (University of London), 2002. https://kclpure.kcl.ac.uk/portal/en/theses/music-and-time-in-theodor-w-adorno(8275f334-adec-45dc-a49d-972e38b69fdf).html.

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Libri sul tema "Time in music"

1

Wendy, Bird, a cura di. Music time. London: BBC Enterprises, 1990.

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Andrew, Clements. Music time, any time! New York, NY: Aladdin Paperbacks, 1997.

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3

Prest, Joseph. Time for music. Spennymoor: J. and S. Publications, 2000.

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4

Robert, Winter. Music for our time. Belmont, Calif: Wadsworth Pub. Co., 1992.

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Bird, Wendy. Music all the time. London: Chester Music, 1989.

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Begbie, Jeremy S. Theology, music and time. Cambridge: Cambridge University Press, 2001.

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Bird, Wendy. Music all the time. London: Chester Music, 1988.

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Bird, Wendy. Music all the time. London: Chester Music, 1988.

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Elizabeth, Bennett, e Ling Maggie, a cura di. Music all the time. London: Chester Music, 1988.

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Music Educators National Conference (U.S.), a cura di. Scheduling time for music. Reston, VA: Music Educators National Conference, 1995.

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Capitoli di libri sul tema "Time in music"

1

van Leeuwen, Theo. "Time". In Speech, Music, Sound, 35–65. London: Macmillan Education UK, 1999. http://dx.doi.org/10.1007/978-1-349-27700-1_3.

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Roger, W. H. Savage. "Music and time". In Music, Time, and Its Other, 17–45. Abingdon, Oxon: New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315563473-2.

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Kania, Andrew. "Music and Time". In The Routledge Handbook of Philosophy of Temporal Experience, 349–60. 1 [edition]. | New York : Routledge, 2017. | Series: Routledge handbooks in philosophy: Routledge, 2017. http://dx.doi.org/10.4324/9781315269641-28.

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Pazel, Donald P. "Time in Music". In Music Representation and Transformation in Software, 55–69. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-97472-5_5.

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Mazzola, Guerino, Alex Lubet, Yan Pang, Jordon Goebel, Christopher Rochester e Sangeeta Dey. "Imaginary Time". In Computational Music Science, 185–87. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-85629-8_12.

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de Alencar, Marcelo Sampaio. "Note, Time, and Frequency". In Music Science, 167–73. New York: River Publishers, 2022. http://dx.doi.org/10.1201/9781003338895-13.

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Powrie, Phil. "Time". In Music in Contemporary French Cinema, 129–64. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-52362-0_5.

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Doherty, Matt. "Time". In Production Management in Live Music, 89–92. New York: Focal Press, 2021. http://dx.doi.org/10.4324/9781003231349-15.

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Mazzola, Guerino, Alex Lubet, Yan Pang, Jordon Goebel, Christopher Rochester e Sangeeta Dey. "Time in Philosophy". In Computational Music Science, 13–31. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-85629-8_2.

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Mazzola, Guerino, Alex Lubet, Yan Pang, Jordon Goebel, Christopher Rochester e Sangeeta Dey. "Semiotics of Time". In Computational Music Science, 193–97. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-85629-8_14.

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Atti di convegni sul tema "Time in music"

1

Fournier-S'niehotta, Raphael, Philippe Rigaux e Nicolas Travers. "Querying Music Notation". In 2016 23rd International Symposium on Temporal Representation and Reasoning (TIME). IEEE, 2016. http://dx.doi.org/10.1109/time.2016.13.

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Shukla, Rishi, e Rebecca Stewart. "Metronome Music Time Capsule". In AM '17: Audio Mostly 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3123514.3123548.

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Sagesser, Marcel Zaes. "Rethinking Time Keeping Histories: (Mechanical) Time Grids as Imagined and Social". In Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/timekeepinghistories.

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Baussard, A., e T. Boutin. "Time-Reversal RAP-MUSIC Approach". In 2007 International Conference on Electromagnetics in Advanced Applications. IEEE, 2007. http://dx.doi.org/10.1109/iceaa.2007.4387257.

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Walker, James S., e Amanda J. Potts. "Time-Frequency Spectra of Music". In Proceedings of the 4th International ISAAC Congress. WORLD SCIENTIFIC, 2005. http://dx.doi.org/10.1142/9789812701732_0044.

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Hao Zhou, Biyang Wen, Shicai Wu e Xiaofeng Liu. "Linear time-frequency MUSIC algorithm". In Proceedings of the IEEE 6th Circuits and Systems Symposium on Emerging Technologies: Frontiers of Mobile and Wireless Communication (IEEE Cat. No.04EX710). IEEE, 2004. http://dx.doi.org/10.1109/casset.2004.1321981.

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Moreira, Acacio, e Teresa Chambel. "As Music Goes By: Music in Versions and Movies Along Time". In 2018 International Conference on Graphics and Interaction (ICGI). IEEE, 2018. http://dx.doi.org/10.1109/itcgi.2018.8602963.

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Oliveira, Gabriel P., Gabriel R. G. Barbosa, Bruna C. Melo, Mariana O. Silva, Danilo B. Seufitelli e Mirella M. Moro. "MUHSIC: An Open Dataset with Temporal Musical Success Information". In Dataset Showcase Workshop. Sociedade Brasileira de Computação, 2021. http://dx.doi.org/10.5753/dsw.2021.17415.

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Music is an alive industry with an increasing volume of complex data that creates new challenges and opportunities for extracting knowledge, benefiting not only the different music segments but also the Music Information Retrieval (MIR) community. In this paper, we present MUHSIC, a novel dataset with enhanced information on musical success. We focus on artists and genres by combining chart-related data with acoustic metadata to describe the temporal evolution of musical careers. The enriched and curated data allow building success-based time series to investigate high-impact periods (hot streaks) in such careers, transforming complex data into knowledge. Overall, MUHSIC is a relevant tool in music-related tasks due to its easy use and replicability.

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Hudak, Paul, Donya Quick, Mark Santolucito e Daniel Winograd-Cort. "Real-time interactive music in Haskell". In ICFP'15: 20th ACM SIGPLAN International Conference on Functional Programming. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2808083.2808087.

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Gangamohan, P., Suryakanth V. Gangashetty e B. Yegnanarayana. "Time-frequency spectral error for analysis of high arousal speech". In Workshop on Speech, Music and Mind 2018. ISCA: ISCA, 2018. http://dx.doi.org/10.21437/smm.2018-4.

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Rapporti di organizzazioni sul tema "Time in music"

1

Keogh, Brendan, Dan Golding e Taylor Hardwick. Australian Music and Games 2023 Benchmark. Queensland University of Technology and Swinburne University of Technology, 2023. http://dx.doi.org/10.5204/rep.eprints.243139.

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Digital games are a global cultural force, of which music is a foundational aspect. Music is crucial for digital games to develop atmosphere, convey narratives, and frame player interactions. At the same time, digital games provide musicians exciting new opportunities to experiment with dynamic, adaptive, and non-linear music structures. However, writing, producing, licensing, and implementing music for digital games also poses new challenges to existing screen music practices and business models. This benchmark is the first ever investigation into the scope and scale of Australia’s game music sector. It reveals a great diversity of working arrangements, career pathways, and skill sets among game music workers. It exposes entrenched and emerging challenges facing the field that require a rethinking of conventional approaches, and identifies new opportunities for Australian game music to flourish and grow.

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Lehman, S. Acoustic Longitudinal Field NIF Optic Feature Detection Map Using Time-Reversal & MUSIC. Office of Scientific and Technical Information (OSTI), febbraio 2006. http://dx.doi.org/10.2172/899101.

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Hizo - Bendezu, Genna, e Claudia Otazu - Aldana. Efficacy of music therapy for the control of anxiety and fear in pediatric patients aged 4 to 6 years who come to the dental office for the first time - a systematic review. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, marzo 2023. http://dx.doi.org/10.37766/inplasy2023.3.0118.

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Review question / Objective: Will music therapy be effective compared to other modalities for the control of dental anxiety and fear in pediatric patients aged 4 to 6 years who come to the dental office for the first time? Condition being studied: Music therapy is a non-pharmaceutical intervention used in medical and educational settings to provide feelings of physical and mental well-being. Therefore, people who receive music therapy experience greater motivation and ability to develop defense mechanisms against anxiety. The population group of greatest interest are children from 4 to 6 years of age, who are the ones who experience the greatest anxiety and fear when going to a dental office.

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Sun, Chenbing, Zhe Wang e Yuening Dai. Music therapy for sleep quality in cancer patients with insomnia：A protocol for systematic review and meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, dicembre 2021. http://dx.doi.org/10.37766/inplasy2021.12.0128.

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Review question / Objective: The aim of this systematic review is to compare music therapy in terms of efficacy in cancer patients with insomnia disorders to better inform clinical practice. Condition being studied: The effectiveness of music therapy for cancer- associate insomnia is the main interest of this systematic review. Information sources: MEDLINE (PubMed, Ovid) The Cochrane Library, Web of Science, Embase and Electronic retrieval of Chinese Biomedical Literature Database (CBM), China National Knowledge Infrastructure (CHKD-CNKI), VIP database, Wanfang Database will be searched from inception time to date. In addition, the included literature will be reviewed and relevant literature will be supplemented.

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Kvalbein, Astrid. Wood or blood? Norges Musikkhøgskole, agosto 2018. http://dx.doi.org/10.22501/nmh-ar.481278.

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Wood or Blood? New scores and new sounds for voice and clarinet Astrid Kvalbein and Gjertrud Pedersen, Norwegian Academy of Music What is this thing called a score, and how do we relate to it as performers, in order to realize a musical work? This is the fundamental question of this exposition. As a duo we have related to scores in a variety of ways over the years: from the traditional reading and interpreting of sheet music of works by distant (some dead) composers, to learning new works in dialogue with living composers and to taking part in the creative processes from the commissioning of a work to its premiere and beyond. This reflective practice has triggered many questions: could the score for instance be conceptualized as a contract, in which some elements are negotiable and others are not? Where two equal parts, the performer(s) and the composer might have qualitatively different assignments on how to realize the music? Finally: might reflecting on such questions influence our interpretative practices? To shed light on these issues, we take as examples three works from our recent repertoire: Ragnhild Berstad’s Vevtråd (Weaving thread, 2010), Jan Martin Smørdal’s The Lesser Nighthawk (2012) and Lene Grenager’s Tre eller blod (Wood or blood, 2005). We will share – attempt to unfold – some of the experiences gained from working with this music, in close collaboration and dialogue with the composers. Observing the processes from a certain temporal distance, we see how our attitudes as a duo has developed over a longer span of time, into a more confident 'we'.

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Winseck, Dwayne. Growth and Upheaval in the Network Media Economy in Canada, 1984-2021. Canadian Media Concentration Research Project (CMCRP), novembre 2022. http://dx.doi.org/10.22215/gmicp/2022.01.

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The Canadian contribution and data set prepared as part of the Global Media and Internet Concentration (GMIC) project offers an independent academic, empirical and data-driven analysis of a deceptively simple yet profoundly important question: have telecom, media and internet markets become more concentrated over time, or less? Media Ownership and Concentration is presented from more than a dozen sectors of the telecom-media-internet industries, including film, music and book industries.

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Ramnath, Rishabh, Neale Kinnear, Sritika Chowdhury e T. Hyatt. Interacting with Android Auto and Apple CarPlay when driving: The effect on driver performance. TRL, gennaio 2020. http://dx.doi.org/10.58446/sjxj5756.

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This study aimed to assess the impact of interacting with two infotainment systems, Android Auto and Apple CarPlay, on four driver performance measures: reaction time, driving behaviour, eyes-off road and self-reported performance. It also compared the results with other forms of driver impairment studied previously. Twenty regular Android users took part in the Android Auto trial and 20 regular Apple users took part in the Apple CarPlay trial. Each participant completed three 20 minute drives in TRL’s DigiCar simulator: control (no interaction with infotainment system), voice enabled and touch enabled. The route was divided into sections and participants performed music, navigation, texting and calling tasks at specific times during the drive. Compared with the control drive, participants in both trials showed a reduction in average speed, increase in deviation of headway and larger deviation of lane position for most tasks; this effect was greater when using touch features than voice features. Eye gaze measures indicated that participants did not meet the NHTSA criteria for most of the tasks when using touch controls for both systems, but they met the criteria when using voice control. Self-reported data suggested that participants found interacting through touch to be more difficult and distracting than voice. Most critically, reaction time to a stimulus on the road ahead was significantly higher when selecting music through Spotify when using Android Auto and Apple CarPlay. Participants also failed to react more to the stimulus on the road ahead when engaging with either Android Auto or Apple CarPlay compared with a control drive. Comparison with previous driver impairment studies showed that the increase in reaction time when interacting with either system using touch was higher than previously measured forms of impairment, including texting and hand-held calls.

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

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

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Nyman, Matt, Nancy Staus e Martin Storksdieck. Science and Art Teaching Practices for Oregon Elementary Teachers: Results of a Landscape Survey. Oregon State University, settembre 2023. http://dx.doi.org/10.5399/osu/1163.

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An Evaluation Report for the Oregon Department of Education. In collaboration with classroom teachers and WRAP personnel we developed and implemented a survey to collect baseline data on the science and arts teaching practices for ALL elementary teachers. This included “regular” classroom teachers (those teachers with an assigned physical classroom and set of students), art teachers, music teachers, PE teachers and other educators or administrators. In December 2022 we recruited three (3) elementary teachers to assist us in survey development, in particular framing questions around frequency of teaching time for both arts and science instruction. One important outcome was that we formulated questions around “dedicated” teaching time where instruction was only focused on science or art content and “integrated” teaching when teachers combine science or art with other instructional areas (such as math or literacy). We also learned that there was a lot of nuances in trying to capture the science and art teaching data; for example, some schools have large blocks of time when they have a particular focus on a science content area and then equally large blocks when science teaching is replaced by instruction in other fields, such as social science. It can be difficult to reduce this instructional framework to a weekly allotment of science teaching.

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Di Campli San Vito, Patrizia, Stephen Brewster, Satvik Venkatesh, Eduardo Miranda, Alexis Kirke, David Moffat, Sube Banerjee, Alex Street, Jorg Fachner e Helen Odell-Miller. RadioMe: Supporting Individuals with Dementia in Their Own Home... and Beyond? CHI '22 Workshop - Designing Ecosystems for Complex Health Needs, 2022. http://dx.doi.org/10.36399/gla.pubs.267520.

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Dementia is an illness with complex health needs, varying between individuals and increasing in severity over time. Approaches to use technology to aid people with dementia are often designed for a specific environment and/or purpose, such as the RadioMe system, a system designed to detect agitation in people with mild dementia living in their own home and calming them with music when agitation is detected. Both the monitoring and intervention components could potentially be beneficially used outside of the own home to aid people with dementia and carers in everyday life. But the adaptation could put additional burdens on the carer, as many decisions and the handling of the data and software could rely on their input. In this paper we discuss thoughts on the potential role of the carer for adaptations of specified system’s expansion to a larger ecosystem on the example of RadioMe.

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