Collaborative digital media performance with generative music systems
Brown, Andrew R. & Dillon, Steven C. (2012) Collaborative digital media performance with generative music systems. In McPherson, Gary E. & Welch, Graham F. (Eds.) The Oxford Handbook of Music Education (Volume 2). Oxford University Press, New York, United States of America, pp. 549-566.
Music is inherently active and interactive. Like technologies before them, digital systems provide a range of enhanced music performance opportunities. In this paper we outline the educational advantages of ensemble performance in which generative media systems are integrated. As a concrete example, we focus on our work with the jam2jam system which uses generative music processes to enhance collaborative music making. We suggest that our research points toward a new class of activities that maintain the well established benefits of ensemble performance while adding cultural and pedagogical value by leveraging the capabilities and cachet of digital media practices.
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|Item Type:||Book Chapter|
|Additional Information:||Table of Contents: Handbook Preface Acknowledgments External referees Section 1: Special Abilities, Special Needs Section Editor: Adam Ockelford Chapter 1: Commentary: Special abilities, special needs Adam Ockelford Chapter 2: Mapping musical development in learners with the most complex needs: The Sounds of Intent project Adam Ockelford and Graham Welch Chapter 3: Exceptional musical abilities: Musical prodigies Gary E. McPherson and Andreas C. Lehmann Chapter 4: A fresh look at music therapy in Special Education Katrina McFerran and Cochavit Elefant Chapter 5: Inclusive music classrooms and programs Judith A. Jellison Chapter 6: Preparing for the future: Music students with Special Education needs in school and community life Alice-Ann Darrow and Mary S. Adamek Section 2: Music in the Community Section Editor: David Elliott Chapter 7: Commentary: Music in the community David J. Elliott Chapter 8: The community within community music Lee Higgins Chapter 9: Community music and social capital Patrick M. Jones and Thomas W. Langston Chapter 10: Community music therapy Kenneth Aigen Chapter 11: Community music and social justice: Reclaiming love Marissa Silverman Chapter 12: Sonic hospitality: Migration, community and music Helen Phelan Chapter 13: At-risk youth: Music-making as a means to promote positive relationships Mary L. Cohen, Laya Silber , Andrea Sangiorgio and Valentina Iadeluca Chapter 14: Fast forward: Emerging trends in community music Kari K. Veblen and Janice L. Waldron Section 3: Adult Learning Within A Lifespan Context Section Editors: David E. Myers and Chelcy L. Bowles Chapter 15: Commentary: Adult learning within a lifespan context David E. Myers Chapter 16: Elders and music: Empowering learning, valuing life experience, and considering the needs of aging adult learners William M. Dabback and David S. Smith Chapter 17: Adult music learning in formal, nonformal, and informal contexts Kari K. Veblen Chapter 18: Music teacher education: Crossing generational borders Jody L. Kerchner and Carlos R. Abril Chapter 19: The role of higher education in fostering musically engaged adults Chelcy L. Bowles and Janet L. Jensen Chapter 20: Lifelong learning for professional musicians Rineke Smilde Chapter 21: An international perspective on music education for adults John Drummond Section 4: Musical Creativity as Practice Section Editor: Pam Burnard Chapter 22: Commentary: Musical creativity as practice Pamela Burnard Chapter 23: Empathy and creativity in group musical practices: Towards a concept of empathic creativity Ian Cross, Felicity Laurence, Tal-Chen Rabinowitch Chapter 24: Intercultural tensions and creativity in music Eva Saether with Alagi Mbye and Reza Shayesteh Chapter 25: Communal creativity as socio-musical practice Eleni Lapidaki, Rokus de Groot and Petros Stagkos Chapter 26 Assessing creativity in music: International perspectives and practices Samuel Leong, Pamela Burnard, Neryl Jeanneret, Bo Wah Leung, Carole Waugh Chapter 27: Creativity in partnership practices Bernadette D. Colley, Randi Margrethe Eidsaa, Ailbhe Kenny and Bo Wah Leung Section 5: Music Learning and Teaching Through Technology Section Editor: Evangelos Himonides Chapter 28: Commentary: Music learning and teaching through technology Evangelos Himonides Chapter 29: The misunderstanding of music-technology-education: A meta perspective Evangelos Himonides Chapter 30: Technology and the educator Ross Purves Chapter 31: The student prince: Music-making with technology Andrew King Chapter 32: Driving forward technology's imprint on music education Jonathan Savage Section 6: Media, Music and Education Section Editor: Matthew Thibeault Chapter 33: Commentary: Media, music and education Matthew D. Thibeault Chapter 34: Music education in the postperformance world Matthew D. Thibeault Chapter 35: Let's Play! Learning music through video games and virtual worlds Evan S. Tobias Chapter 36: Collaborative digital media performance with generative music systems Andrew R. Brown and Steven C. Dillon Chapter 37: Music learning and new media in virtual and online environments S. Alex Ruthmann and David G. Hebert Section 7: Critical Reflections and Future Action Section Editor: Gary McPherson and Graham Welch Chapter 38: Commentary: Critical reflections and future action Gary E. McPherson and Graham F. Welch Chapter 39: Politics, policy and music education Hal Abeles Chapter 40: Instrumental teachers and their students: Who's in the driving seat? Nick Beach Chapter 41: University professors and the entrepreneurial spirit Liora Bresler Chapter 42: Pride and professionalism in music education Richard Colwell Chapter 43: Pondering the grand experiment in public music education Robert A. Cutietta Chapter 44: Music education and some of its sub-fields: Thoughts about future priorities Lucy Green Chapter 45: Music education - An unanswered question Wilfried Gruhn Chapter 46: Improving primary teaching - Minding the gap Sarah Hennessy Chapter 47: International music education: Setting up a global information system Liane Hentschke Chapter 48: The responsibility of research in defining the profession of music education Christopher M. Johnson Chapter 49: Constructing communities of scholarship in music education Estelle R. Jorgensen Chapter 50: Internationalising music education Andreas C. Lehmann Chapter 51: Emotion in music education Richard Letts Chapter 52: Music education from a slightly outside perspective Håkan Lundström Chapter 53: Research issues in personal music identification Cliff Madsen Chapter 54: Preparation, perseverance, and performance in music: Views from a program of educational psychology research Andrew J. Martin Chapter 55: Music therapy in schools: An expansion of traditional practice Katrina McFerran Chapter 56: Embracing new digital technologies - Now and into the future Bradley Merrick Chapter 57: Challenges for research and practices of music education Bengt Olsson Chapter 58: All theoried up and nowhere to go Bennett Reimer Chapter 59: Make research, not war: Methodologies and music education research Wendy L. Sims Chapter 60: The preparation of music teacher educators: A critical link David J. Teachout Chapter 61: Music and the arts: As ubiquitous and fundamental as the air we breathe Rena Upitis Chapter 62: There is nothing complex about a correlation coefficient Peter R. Webster Chapter 63: Dewey's bastards: Music, meaning, and politics Paul Woodford|
|Keywords:||generative music systems, ensemble performance, jam2jam system|
|Subjects:||Australian and New Zealand Standard Research Classification > EDUCATION (130000) > CURRICULUM AND PEDAGOGY (130200) > Creative Arts Media and Communication Curriculum and Pedagogy (130201)|
|Divisions:||Current > Research Centres > Australasian CRC for Interaction Design (ACID)
Current > QUT Faculties and Divisions > Creative Industries Faculty
Current > Schools > Music & Sound
|Copyright Owner:||Copyright 2011 Oxford University Press|
|Copyright Statement:||All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by licence, or under terms agreed with the appropriate reproduction rights organisation. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address [198 Madison Avenue, New York, NY 10016].|
|Deposited On:||08 Dec 2010 02:16|
|Last Modified:||20 Feb 2013 03:28|
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