Organizational Unit:
School of Music

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Now showing 1 - 4 of 4
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    Composing and Decomposing Electroacoustic Sonifications: Towards a Functional-Aesthetic Sonification Design Framework
    (Georgia Institute of Technology, 2021-05-01) Tsuchiya, Takahiko
    The field of sonification invites musicians and scientists for creating novel auditory interfaces. However, the opportunities for incorporating musical design ideas into general functional sonifications have been limited because of the transparency and communication issues with musical aesthetics. This research proposes a new design framework that facilitates the use of musical ideas as well as a transparent representation or conveyance of data, verified with two human subjects tests. An online listening test analyzes the effect of the structural elements of sound as well as a guided analytical listening to the perceptibility of data. A design test examines the range of variety the framework affords and how the design process is affected by functional and aesthetic design goals. The results indicate that the framework elements, such as the synthetic models and mapping destinations affect the perceptibility of data, with some contradictions between the designer's general strategies and the listener's responses. The analytical listening nor the listener's musical background show little statistical trends, but instead imply complex relationships of types of interpretations and the structural understanding. There are also several contrasting types in the design and listening processes which indicate different levels of structural transparency as well as the applicability of a wider variety of designs.
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    The algorithmic score language: Extending common western music notation for representing logical behaviors
    (Georgia Institute of Technology, 2018-05-22) Martinez Nieto, Juan Carlos
    This work proposes extensions to Western Music Notation so it can play a dual role: first as a human-readable representation of the music performance information in the context of live-electronics, and second as a programming language which is executed during the live performance of a piece. This novel approach simplifies the compositional workflow, the communication with performers, the musical analysis, and the actual performance of scored pieces that involve computer interactions. Extending Western Music Notation as a programming language creates musical scores which encode music information for performance that is human-readable, cohesive, self-contained and sustainable, making the interactive music genre attractive to a wide spectrum of composers and performers of new music. A collection of pieces was composed and performed based on the new extended notation and some repertoire pieces were transcribed enabling the syntax evaluation in the context of different compositional aesthetics. The results of this research created a unique approach to composition and performance of interactive music that is supported by technology and founded in traditional music practices that have been used for centuries.
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    Analog synthesizers in the classroom: How creative play, musical composition, and project-based learning can enhance STEM standard literacy and self-efficacy
    (Georgia Institute of Technology, 2015-04-24) Howe, Christopher David
    The state of STEM education in America's high schools is currently in flux, with billions annually being poured into the NSF to increase national STEM literacy. Hands-on project-based learning interventions in the STEM classroom are ubiquitous but tend to focus on robotics or competition based curriculums. These curricula do not address musical creativity or cultural relevancy to reach under-represented or disinterested groups. By utilizing an analog synthesizer for STEM learning standards this research aims to engage students that may otherwise lack confidence in the field. By incorporating the Maker Movement, a STEAM architecture, and culturally relevant musical examples, this study’s goal to build both self-efficacy and literacy in STEM within under-represented groups through hands-on exercises with a Moog analog synthesizer, specifically the Moog Werkstatt. A quasi-experimental one-group pre-test/post-test design was crafted to determine study validity, and has been implemented in three separate studies. Several age demographics were selected across a variety of classroom models and teaching style. The purpose of this wide net was to explore where a tool like the Werkstatt and its accompanying curriculum would have the biggest impact. Results show that this curriculum and technique are largely ineffective in an inverted Music elective classroom. However, in the STEM classroom, literacy and confidence were built across genders, with females showing greater increases in engineering confidence and music technology interest than their male counterparts.
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    Audience participation using mobile phones as musical instruments
    (Georgia Institute of Technology, 2012-05-21) Lee, Sang Won
    This research aims at a music piece for audience participation using mobile phones as musical instruments in a music concert setting. Inspired by the ubiquity of smart phones, I attempted to accomplish audience engagement in a music performance by crafting an accessible musical instrument with which audience can be a part of the performance. The research begins by reviewing the related works in two areas, mobile music and audience participation at music performances, builds a charted map of the areas and its intersection to seek an innovation, and defines requisites for a successful audience participation where audience can participate in music making as musicians with their mobile phones. To make accessible audience participation, the concept of a networked multi-user instrument is applied for the system. With the lessons learnt, I developed echobo, a mobile musical instrument application for iOS devices (iPhone, iPad and iPod Touch). With this system, audience can download the app at the concert, play the instrument instantly, interact with other audience members, and contribute to the music by sound generated from their mobile phones. A music piece for echobo and a clarinet was presented in a series of performances and the application was found to work reliably and accomplish audience engagement. The post-survey results indicate that the system was accessible, and helped the audience to connect to the music and other musicians.