Figure 30 - uploaded by Álvaro Barbosa
Content may be subject to copyright.
Source publication
ResumAquesta tesi recull la recerca al voltant de les pràctiques musicals mitjançant xarxes dordinadors realitzada al Grup de Tecnologia Musical de la Universitat Pompeu Fabra a Barcelona entre lany 2001 i el 2005. Parteix del treball dut a terme durant la última dècada dins del camp del Treball Cooperatiu amb Ordinadors (Computer-Supported Coopera...
Citations
... Networked Music is an established discipline with initial significant developments since the late 90's and first surveyed substantially in (Barbosa, 2006). Networked Music encapsulates the challenges of musical collaboration over the internet, integrating this medium's acoustic properties in the musical creativity and production processes. ...
Research in ubiquitous networked music systems has unveiled the potential of behavioural-driven interaction interfaces as an effective model to cope with network communication delays in remote musical performances. Most of the techniques developed under these premises are based on digital music interfaces implemented on laptop computers or tablet devices, where a certain degree of gestural control comes as an added dimension. The purpose of this paper is to present an implementation of such type of interfaces in the form of a physical tangible musical instrument, contemplating multiple expressive possibilities. This is viable at the current stage of technological development thanks to leveraging 3D printing and laser cutting technologies for effective prototyping and testing of such a device. The paper seeks to demonstrate that this approach opens a wide range of possibilities for creating musical instruments with versatility and expressiveness beyond what is usually accomplished in traditional instruments. This implementation, entitled “Radial String Chimes,” is presented with its advantages, the challenges it faces, and the methods used to create it. Finally, the paper will offer suggestions for further developing such an instrument to unlock its potential.
... This feature that was the motto of the initial project is better exposed in [Jordà, 1999], which deals with the social and aesthetic implications of net-music, and [Jordà and Wüst, 2001] which cover more technical aspects of the implementation. Furthermore, implications of computer and web based collective or collaborative music composition and performance, starting with the League of Automatic Composers in the late 70s [Bischoff et al., 1978] have been widely studied and published in these last years in papers and thesis such as [Barbosa, 2002] and [Föllmer, 2001]. ...
What is a musical instrument? What are the musical instruments of the future? This anthology presents thirty papers selected from the fifteen year long history of the International Conference on New Interfaces for Musical Expression (NIME). NIME is a leading music technology conference, and an important venue for researchers and artists to present and discuss their explorations of musical instruments and technologies.
Each of the papers is followed by commentaries written by the original authors and by leading experts. The volume covers important developments in the field, including the earliest reports of instruments like the reacTable, Overtone Violin, Pebblebox, and Plank. There are also numerous papers presenting new development platforms and technologies, as well as critical reflections, theoretical analyses and artistic experiences.
The anthology is intended for newcomers who want to get an overview of recent advances in music technology. The historical traces, meta-discussions and reflections will also be of interest for longtime NIME participants. The book thus serves both as a survey of influential past work and as a starting point for new and exciting future developments.
... En España existen muchos trabajos relacionados con el impacto de las TIC en el aula, grupos de investigación en torno a e-Learning en música, como el estudio en el desarrollo de las competencias en TIC (Universidad de Barcelona), o trabajos en los que se relacionan las tecnologías con el procesamiento de audio y sus aplicaciones en el campo de la música y el multimedia (Universidad Pompeu Fabra), sin olvidar los estudios marcados por el sello de la Universidad de la Rioja, dirigido por Jesús Tejada. Otros estudios intentan dar aportes importantes como experimentar y evaluar modelos de materiales multimedia de soporte a la educación del oído musical (Miranda Pérez, 2003), para el enfoque global del tratamiento de la lectura musical (Pérez Gil, 1992), en el uso de una documentación electrónica en forma de programa hipermedia para ver si es más efectiva que una documentación impresa en el aprendizaje de un programa de edición de partituras por parte de usuarios inexpertos (Tejada Jiménez, 2000), o cómo se puede llevar a cabo el trabajo colaborativo utilizando ordenadores desde diversos escenarios: composición, interpretación, improvisación y educación (Mendes Barbosa, 2006) A pesar de esto, comprobamos que tras más de 25 años de trabajo muy activo en la aplicación de los computadores a la enseñanza aún hay algunas preguntas esenciales sin responder o con respuestas parciales: ¿cómo generar oportunidades de aprendizaje efectivas?, ¿en qué condiciones el aprendizaje basado en la experiencia es más eficiente que el estudio? (Shane & Heathcote, 2010), ¿cómo se han de diseñar los entornos para que efectivamente mejoren el aprendizaje? ...
La actitud de los estudiantes ante el uso de Contenidos Educativos digitales para el aprendizaje musical. Investigación longitudinal Student attitudes toward the use of digital educational objects for musical learning Resumen Este trabajo muestra los resultados de una investigación transversal realizada en 2007 y 2012. El objeto de investigación ha sido la interacción con Contenidos educativos Digitales por estudiantes de 3º de la ESO para el aprendizaje de la enseñanza musical. El artículo presenta los resultados de una investigación en el uso de Contenidos educativos digitales. El objetivo principal ha sido conocer las actitudes de los estudiantes ante el uso de este tipo de objetos de aprendizaje y saber si ha habido diferencias significativas entre los años. Para ello se ha utilizado una metodología de carácter cuantitativa de Pretest-postest. Al final se establecen unas conclusiones devenidas del análisis de los resultados, en las que se esgrimen aquellos aspectos positivos y negativos valorados por los estudiantes, dando paso a una discusión final en la que se muestran una serie de posibles actuaciones futuras en el uso de este tipo de recursos en el aula de música.
... The interfaces can range from an iPod Touch that can control the speed and pitch of songs to new instrument-like objects, such as a tube equipped with different sensors that capture touch and movement, which affect the generation of digital sound production algorithms. In addition, the interfaces may address collaborative digital instruments on which a number of people can make music together (Barbosa, 2006). Such instruments would typically involve applications in a networked or Internet environment and they are highly relevant for studies on social music interaction. ...
This book is about the power of music, that is, the effect of music on our emotive, cognitive, motor, and social abilities. Where does this power come from? What is the basis of this power? What mechanisms support this power? Can technology enhance this power? How can we apply this in education, health, sports, and other application domains?
Answering these and related questions is the central goal of the research that is currently conducted at IPEM, the institute for systematic musicology at Ghent University, Belgium. IPEM’s mission is to provide a scientific foundation for musical and technological innovation in the cultural/creative sector.
With contributions of seven experts in different fields such as musicology, ergonomics, acoustics, physics, and movement science, this book reveals information that is less publicly known. The authors discuss topics as varied as basic concepts of musical embodiment, music performance, mediation technology as an extension of the body, social interaction in music, music education, health, rehabilitation and lifestyle, and fundamentals of music and movement.
... Digitally networked music production systems allow the innovation of collaborative music making (peer production). Barbosa (2003 Barbosa ( , 2006) devised a classification of networked music production systems based on the dimensions of interaction (synchronous/asynchronous) and location (local/remote) by analogy with the Computer Supported Cooperation Work (CSCW) model of Rodden (1991). Musical peer production in the long tail can be shown by way of example in the Co-Located Musical Networks and the Music Composition Support Systems from the Barbosa 10 Claudius Brüse is a film composer and sound designer. ...
This study explores how technical innovations influenced the production process of electronic music in the decade 1997 to 2007. In a survey seeking answers to this question in 2008, seventeen problem-focused interviews were conducted with developers of technical innovations, expert authors, performers, academics and researchers from the field of electronic music. Along the lines of grounded theory, this investigation also served the objective of identifying and systematising technical innovations in electronic music production and their influence on the production process. It became apparent that the key innovations were virtualising of recording studios (native processing) and digital networking (including peer production, democratising of
distribution, linking of supply and demand).
... Since the work accomplished by Föllmer, and by Blaine and Fels, there has been an increase in interest in colocated shared musical experiences, such as the reacTable [9], and distributed music-making systems such as Ocarina [10], but we still know relatively little about how people go about using these systems. Barbosa captured this increase through a thorough survey of the field in 2006 [11] and developed the Networked Music Classification Space to distinguish between local and remote physical location of participants and between synchronous and asynchronous interaction. Barbosa's work also provided extensive coverage of different forms of networked music systems, from distributed composition tools to real-time performance systems, and explored the implications that the nature of networked computers has for the possible forms of music-making available. ...
Written and drawn annotations of musical scores form a core part of the music composition process for both individuals and groups. This article reflects on the annotations made in new forms of distributed music-making wherein the score and its annotations are shared across the web. Four kinds of annotation are identified from 8 years of studies of mutual engagement through distributed music-making systems. It is suggested that new forms of web-based music-making might benefit from shared and persistent graphical annotation mechanisms.
... This approach introduces a difficult problem for ubiquitous music systems. As Barbosa (2006) has pointed out, latency in large network systems will remain in the perceivable range for the next few years. Therefore, music systems need to take this limitation into account in order to reduce the effects of network time delays. ...
... Green Canopy is a series of sculptural sound installations based on visual and sound elements inspired and collected in the North-Western Amazonian rainforest (Green Canopy: The Tree, Green Canopy: The Forest, Green Canopy: The Bud) (Keller, Capasso, & Tinajero, 2005, 2006. The artwork is a reflection on the environmental and social impact of industrialization. ...
Current musical practices point to convergent research trends that bring together eco-composition, cooperative composition, mobile music and networked music. We present results of three compositional studies devised to test three musical interaction metaphors for ubiquitous computing contexts: the cup metaphor, time tagging and spatial tagging. These metaphors were developed through a conceptual and methodological framework that places compositional activities within the context of software development. We discuss the theoretical underpinnings of our approach and propose ubiquitous music as a frame of reference for this type of research.
... 57. Appassionata, second movement (bars[1][2][3][4][5][6][7][8] ...
The goal of this research is to characterize representative performances by famous pianists in order to determine main influential trends in performance, derived specifically from traditional piano practices referred to as National Piano Schools. Previous research (Lourenço, 2005, 2007) has shown strong musical correlation of particular characteristics, namely the aesthetic, the technical, the historic and the repertoire. The concept of piano interpretation school is a useful concept for analyzing the universe of piano performance. Piano pedagogy literature of each European National Piano School has been analyzed together with an empirical audio analysis of recordings through a check-list survey. Overall the main National Piano Schools consist of three essential branches: the Russian school; the German school; the French school. The identification of National Piano Schools provides a powerful framework of study and an awareness of Europe's elusive music heritage and it main influences. Furthermore, as pianists use their whole body to enhance their communication of the music's spiritual, emotional and dramatic essence, this study also aims to contribute into research on performance practice.
... En el artículo publicado por Oriol (2009) sobre tesis doctorales de música defendidas en España en la última década, se encuentran sólo tres tesis relacionadas con las nuevas tecnologías: La tesis de Méndes (2006) titulada "Computer-suported cooperative work for music applications", la tesis de Rodríguez (2007) titulada "Diseño, aplicación y evaluación de una metodología basada en la tecnología informática para la enseñanza de la música en la E.S.O." y la tesis de Liaño (2006) titulada "Realidad virtual: relaciones entre sentido de presencia y emociones". ...
La enseñanza virtual se está abriendo camino, cada vez más, en las universidades españolas. Este artículo recoge las conclusiones de un estudio de casos realizado en la Facultad de Educación de una universidad pública española y describe la experiencia vivida por el profesor y el alumnado de educación musical en su primer año de formación semipresencial. Los resultados indican un alto grado de satisfacción tanto del profesor como de los alumnos en la experiencia vivida y su intención de repetir la experiencia.Virtual learning is quickly being implemented in many Spanish Universities. This paper focuses on the conclusions drawn from a case study carried out at the Faculty of Education of a Spanish state University. Its aim is to describe the experience of a Music Education teacher and the students in their first year of a blended learning training course. The results show a high degree of satisfaction from both teacher and students, and their intention of repeating the experience.
... According to Barbosa (2006) "It is about music practice situations where traditional aural and visual connections between participants are augmented, mediated or replaced by ellectronically-controlled connections." ...
... Based on this idea, Alvaro Barbosa (2006) proposes some networked music system categories using as a reference the classification criteria of CSCW presented in figure 2.2. The graphical representation is analogous to Tom Rodden's Classification Space Dimension (RODDEN 1991), representing Networked Music Systems as shown in figure 2.3. ...
... Besides, this thesis also suggests another important characteristic not mentioned in the classification space proposed in (BARBOSA 2006). It lacks the Orientation dimension, which means the public-target and defines if the system is addressed for "musicians" or "novices in music". ...
Music creation is considered as mostly a solitary activity performed by musicians. Since music has traditionally served as a natural motivation for community formation, new modalities have been created by means of use of technology, and one potential convergency of social activities and music making is the field of "Networked Music". It allows people to explore the implications of interconnecting their computers, and share musical experience as a social activity through music. This thesis assumes that a networked music environment - if specifically designed for that - can stimulate social ways of music creation, even by novices in music - people assumed to have no previous knowledge of music. The goal of this thesis is to investigate how networked music technology can provide adequate support for music creation, to discuss how it is possible to overcome a set of natural barriers, and to define requirements specifically oriented to users novices in music, and, as the main result and testbed of this research, to introduce CODES (Cooperative Music Prototypes Design) - a Web-based novice-oriented environment designed to support cooperative music creation. The prototypical nature of CODES is designed and built in order to provide a novice-oriented perspective, as a novice may experiment with music by combining, listening and rearranging pre-defined sound patterns to create simple musical pieces - called Music Prototypes. Furthermore, CODES users may cooperate with partners in a cyclical and collaborative process of music prototypes creation - called Cooperative Music Prototyping, using customized awareness, argumentation, and negotiation mechanisms until a final consensual music prototype stage is reached. Throughout this volume, the main concepts, principles, requirements and characteristics of CODES are presented, and the details of design, implementation of CODES and its evaluation by actual users are described.
