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.

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Abstract

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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ID Code: 39064
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

Additional URLs:
Keywords: generative music systems, ensemble performance, jam2jam system
ISBN: 978-0-19-992801-9
Subjects: Australian and New Zealand Standard Research Classification > EDUCATION (130000) > CURRICULUM AND PEDAGOGY (130200) > Creative Arts Media and Communication Curriculum and Pedagogy (130201)
Divisions: Past > Research Centres > Australasian CRC for Interaction Design (ACID)
Current > QUT Faculties and Divisions > Creative Industries Faculty
Past > 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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