ATMI 2005 - Presentation Abstracts & Presenter Bios
[complete program (PDF)]
Dr. Trombone: The
Development of a Computerized Musical Training Aid (General)
Sean Atkinson,
8:30 am, Sun., Nov. 6, St Charles West
Abstract:
While the use of
computer-assisted learning is not new, current computerized musical training
aids for wind instruments cannot evaluate a performance and offer immediate
feedback. “Dr. Trombone,” a program created using Cycling 74’s Max/MSP
software, can do just that through the use of waveform displays (visual
representations of performed passages), which appear on screen immediately
following a user’s performance. By comparing these waveforms to pre-recorded,
ideal versions, the user can see parameters such as the squareness of attacks,
the space between notes, and the overall dynamic shape, and then can listen to
both the pre-recorded version and his or her version for a further
understanding of how to improve these techniques. A study by Dr. Mark Britt of
Biographical
Information:
Sean Atkinson is currently a master’s student at The Florida State University College of Music studying music theory. His main research interests include American music in the twentieth century, specifically the music of Leonard Bernstein.
Analysis of Electroacoustics: A Pedagogical
Model for Electroacoustic Studies (EaSt) (General)
Kevin Austin,
2:30 pm, Sat., Nov. 5, St Charles East
Abstract:
Electroacoustics: sound that comes from loudspeakers. Electroacoustic Studies: the discipline of the study of electroacoustics, from audition and perception, to composition, to history and repertoire, and analysis. This is an introduction to the pedagogy of the analysis of electroacoustic materials based on technological, sociological, psychological, psychoacoustic, and compositional principles in the development of the discipline of Electroacoustic Studies.
Biographical Information:
Kevin Austin has been teaching electroacoustics, theory, ear training and composition for over thirty years. Among his curricular development are those in the areas of dictation and sight singing (two-year cycle), theory (two-year cycle), and a curriculum for a major (and minor) in Electroacoustic Studies. He has been active in the national and international electroacoustic community for more than thirty years.
Benson, Cynthia, see Sara Hagen (Preference for Eye Guidance in Computer-Aided Sight Playing)
ATMI Plenary: Vignettes from ATMI’s Thirty
Years: The Little Organization That Could! (General)
Ann Blombach, The
Michael Arenson,
David B. Williams,
10:00 am, Fri., Nov. 4, St Laurent
Centre/North
Abstract and Biographical
Information:
See “Plenary Session” at beginning of abstracts/biographies.
Using CSound in Live Performance
(Advanced)
James Bohn,
3:00 pm, Thurs., Nov. 3, St Charles West
Abstract:
CSound (http://www.csounds.com) is a computer-based sound
synthesis language that descends from the first program of this kind (Music 1,
written by Max Mathews). CSound is a free cross-platform program that has a
large user community, providing a huge amount of free materials online. While
CSound is usually used as a scriptable language (that is that a script of text
describing the sound is rendered outside of real time), it can also be used in
real time with
Biographical Information:
James Bohn has served as a guest
artist at the 7–11 festival in
High Touch in High Tech Classes: The Human
Element in Online Learning (Novice)
Judith Bowman,
8:00 am, Sat., Nov. 5, St Charles West
Abstract:
This paper explores the perception of online presence and its effect on student learning and satisfaction with their learning. Included are course design considerations, issues of presence and immediacy, and their practical application in online courses. Strategies for enhancing the human element in online courses, including ways to build a comfortable environment into the course and interaction techniques that help transcend the bounds of text-based courses are provided.
Biographical Information:
Judith Bowman, Professor, Music Education and Music
Technology. Ph.D., M.M.,
Bowman, Judith, see Eugenie Burkett (Panel: Online Education: Bonanza or Boondoggle?)
Cross-Platform Includes the atmi2005_abstracts.htm#: Design
Considerations When Creating Computer-Assisted Instruction in Music for the PDA
(Advanced)
Don Bowyer,
8:30 am, Thurs., Nov. 3, St Charles East
Abstract:
This presentation will include a demonstration of various educational music applications that are designed to be run on the PocketPC or Palm platforms, as well as a discussion of some of the design considerations that need to be addressed to make software usable on these platforms.
Biographical Information:
Don Bowyer is Interim Chair of the Department of Music at
the
Panel Discussion: Online Education: Bonanza
or Boondoggle? (General)
Eugenie Burkett,
Participants: Judith Bowman (
1:00 pm, Thurs., Nov. 3, St Charles East
Abstract:
University administrators are beginning to address the issues of electronically offered instruction through the creation of standards/principles of implementation, faculty copyright ownership, and licensing agreements. Given the cost effectiveness regarding this form of instructional delivery, scalability features, and the inherent possibility of turning this market into a “cash cow” for continuing education and distance learning departments, more programs, courses, and materials will continue to be developed and implemented through commercial and non-commercial publishers. While many teachers are willing to incorporate technologies as an enhancement to their teaching or to provide better, more efficient delivery, many administrators are at a loss as how to document and compensate this type of instruction in terms of contact hours and teaching load. Members of the panel discussion will identify key success factors for effective implementation of Web-based education and the administrative approaches that predict success and/or failure. The members will also discuss current levels of student performance using Web-based instruction, institutional policies for faculty load and compensation, policies related to copyright and licensing, and standards for electronic course delivery.
Biographical Information:
Eugenie Burkett is an associate
professor at the
Dr. Judith Bowman, Professor of Music Education and Music Technology at the School of
Music,
Carlos Maldonado, Ph.D., is the Co-Founder and Chief
Technology Officer of Connect For Education, Inc. (C4E), the leading developer
and provider of online music courses in the
Grace Ohlenbusch is currently assistant professor at the
Scott Stinson received his undergraduate and master’s
degrees in composition at Indiana University (IU) as a student of John Eaton
and earned his doctorate in theory/composition at the
Integrative
and Collaborative Music Learning Using Blogs (Intermediate)
Eddy K. M. Chong, National Institute of Education,
Wai Man Soo, National Institute of Education,
8:45 am, Sat., Nov. 5, St Charles West
Abstract:
Increasingly, educators are realizing the educational benefits of blog as a tool for learners to engage in self-reflection and collaborative learning. This study explores using community-owned blogging instructional strategy to help students integrate their study of music history, music theory and composition in a collaborative manner. The students’ blog participation, their blog discourse, and the quality of their group projects will be evaluated to assess the pros and cons of community-owned blogging strategy for education, and its effectiveness in complementing classroom pedagogy. Solutions to overcome some of the difficulties encountered will be suggested.
Biographical Information:
Eddy K. M. Chong, Ph.D., has been exploring the use of
instructional technologies in the teaching of music in the last few years. A
music theory major, he has been teaching mainly music theory and analysis at
both the diploma, undergraduate and graduate levels at the National Institute
of Education,
Wai Man Soo, Ph.D., has been actively engaged in online
instructional strategies and technologies over the past decade. He has taught
and researched on educational blogging strategies in higher education at the
polytechnics and universities. Wai Man is currently teaching part-time at the
National Institute of Education,
Steiner
Frank Clark, Georgia Institute of Technology
2:30 pm, Thurs., Nov. 3, St Charles West
Abstract:
The Steiner MIDI EVI (electronic valve instrument) is a
unique trumpet-style
Biographical Information:
Frank
Clark (Director and Professor of Music,
“EEE!” (Eastern’s Electronic Ensemble) (General)
Anthony Cornicello, Eastern
8:00 pm, Thurs., Nov. 3, St Charles East
Abstract:
EEE! is Eastern’s Electronic Ensemble, a performing group
consisting of mostly electronic instruments. Students perform on laptops,
motion sensors, CD scratchers,
Biographical Information:
EEE! has been presenting concerts in
Composer Anthony Cornicello
(born in
Jay Dorfman, Northwestern University
Marc Jacoby,
9:15 am, Sat., Nov. 5, St Charles West
Abstract:
The concept of loop-based composition and song construction
has crept into the traditional
Biographical Information:
Jay Dorfman received B.M. and M.M. degrees in music
education from the
Marc Jacoby is an Assistant Professor at
Mr. Dorfman and Mr. Jacoby have presented technology-related workshops at several state and national level music education conferences.
Rhythm Tools: New Software for Rhythmic
Dictation and Sightreading (General)
Timothy D. Edwards,
10:15 am, Thurs., Nov. 3, St Charles East
Abstract:
Rhythm Tools is a new program for
Macintosh developed by Timothy Edwards at Columbia College Chicago, and
implemented as an auxiliary resource in the Sightsinging, Musicianship and
Eartraining course series there. It allows students to drill in rhythmic
dictation and in the sight reading of rhythms. The program is customizable,
allowing administrators to create and edit their own rhythms categorized by
levels of difficulty. Users of the software complete rhythmic dictations by
listening and notating rhythmic units chosen from a palette and by sight
reading rhythms which appear on screen. A supplementary utility program “Rhythm
Inspector” allows administrators to develop and proofread a custom set of
rhythms according to their curriculum. Assessments of performance are recorded
and reported after each session. The software’s creator will demonstrate and
discuss it.
Biographical Information:
Timothy Edwards first began programming
computers in high school in the late 1970s where he used BASIC to create a
video game and to generate chord progressions according to certain rules. With
the exception of brief forays into data structures and machine language on the
IBM 8088 chip, and some simple PASCAL, his interest in computer programming lay
dormant until he discovered a programming environment called “Max” in the
Computer Music Laboratories of the University of Chicago while a doctoral
student there in music composition. Since then he has developed several
standalone programs including a digital version of the ARP Odyssey synthesizer,
two programs for simulating the tuning of the monochord, a complex audio
processing application for live performance, a program for extracting audio
from CDs and a toy interface for his eight-month-old son. He is a Technology
Fellow at Columbia College Chicago where he has created software to help
students drill in the areas of rhythmic dictation and sight reading (Rhythm
Tools).
Edwards studied composition with Ralph
Shapey, Shulamit Ran and John Eaton, and Lewis Spratlan, and improvisation with
Yusef Lateef. He holds a Ph.D. in Composition from the
He has wide ranging experience in the classroom, having taught at the University of Chicago, the University of Illinois at Chicago, and the University of Massachusetts at Amherst prior to joining the faculty at Columbia College Chicago where he teaches sight singing, musicianship, ear training, theory, analysis and composition in the Department of Music and digital audio production techniques and theory in the Department of Audio Arts and Acoustics. He is chair of the Chicago Composers’ Consortium, and a member of SEAMUS, ATMI, TI:ME, SCI, and other professional organizations.
Audio
in Media: Digital Video Basics for Motion Picture Composers (Intermediate)
Bruce H.
Frazier, Western Carolina University
Daniel Gonko,
Robert C. Johnson,
11:00 am, Thurs., Nov. 3, St Charles East
Abstract:
An introductory session for media
composers demonstrating techniques for blending audio with digital video using
Apple’s Final Cut Pro. A sample
project will illustrate capture, importing, editing, adding transitions,
applying plug ins, mixing, synchronizing, and exporting audio with video.
Biographical Information:
Bruce H. Frazier joined the
music department faculty of
In addition to his professional work as conductor for television and film, Frazier was the orchestra director and arranger for country singer Loretta Lynn for more than a decade. He has conducted for other artists including Ronnie Milsap and Mac Davis. Frazier was the music coordinator for Dolly, the ABC TV series starring singer Dolly Parton,
Frazier holds the bachelor’s and master’s degrees in music
composition, both from
Daniel Gonko is a graduate assistant at
Robert C. Johnson is a student in the Master of Music
program at
Gonko, Daniel, see Bruce H. Frazier (Audio in Media: Digital Video Basics for Motion Picture Composers)
PDQ Bach vs. iMovies:
Authentic Learning and Assessment (Novice)
Cynthia I. Gonzales, Texas State University–San Marcos
9:15 am, Fri., Nov. 4, St Charles West
Abstract:
Many people are familiar with PDQ Bach’s famous (or perhaps, infamous!) narrated rendition of the first movement of Beethoven’s Symphony No. 5. Teachers of music literature and aural skills can relate all too well, as we speak over the music to point out events in the music while our students attempt to listen both to the music and to our words about the music. Elementary music educators solve the problem by creating graphic music maps or listening guides. But the problem of coordinating an aural event with its label persists. Yet this is exactly the skill we aim to teach: to hear a musical event and to name it.
Apple’s iMovie provides an effective, efficient, and easy way to identify musical events as they occur, so that students hear the musical event and see the label simultaneously, without the teacher (or PDQ Bach) shouting above the music. Although iMovie is a powerful multimedia software, only two of its features are needed: audio and titles. The procedure is basic: import the sound track, and if needed, edit it. Insert titles to provide labels where desired. Save and export as a QuickTime movie, a cross-platform format that can be burned onto a CD-ROM for in-class use, or uploaded to a Web site (preferably one password-protected since the movie’s sound file is probably from a commercial recording that is copyright protected).
Biographical Information:
Cynthia I. Gonzales is a music
theorist and professional soprano. As a theorist, she has presented at
international, national, and regional conferences on technology topics, as well
as text-music relationships in the lieder of Arnold Schoenberg. As a soprano,
she specializes in performing German lieder and early music, and regularly
sings with the professional ensemble Conspirare. She has earned degrees from
the
Gray, Patricia, see Mary Elizabeth Neal (A Multimedia Presentation of Analyses of Three Melodramas in Arnold Schoenberg’s Pierrot lunaire, Op. 21)
Using Classroom Response Systems to Enrich
Student Involvement in Music Appreciation Classes (General)
James A. Grymes, The
8:00 am, Thurs., Nov. 3, St Charles East
Abstract:
This paper will provide an overview of how Classroom Response Systems (CRS) can be used to enrich instruction in music appreciation classes. While music instructors typically rely on recordings to illustrate elements of music and to introduce masterworks, there is no real incentive for the students to become actively involved in the listening process. With a CRS, however, every student is motivated to listen carefully and react to guided questions using hand-held infrared transmitter units or wireless networked PDAs while the music unfolds. The CRS software compiles and displays the results, and the instructor is provided with real-time assessment that can be used to shape the rest of the lecture. Because each student transmitter has a unique signature that has been registered to its owner, performance data can also be tabulated to assess attendance, participation, and long-term progress. The result is a truly interactive environment that fosters a sophisticated level of experiential learning that would be impossible in large classes without this technology.
Biographical Information:
James A. Grymes received the Bachelor of Music degree in
Music Education from
Preference for Eye
Guidance in Computer-Aided Sight Playing at the Piano (General)
Sara Hagen,
Cynthia Benson,
8:00 am, Sat., Nov. 5, St Charles East
Abstract:
The purpose of this study was to determine the preference for three differing types of eye tracking used by software programs which could be used for sight playing at the piano. Several software programs on the market are designed specifically for use in piano teaching and have two primary means of guiding the eye: highlighting an entire measure or highlighting note by note as the music is displayed in real time. A third option involves a moving vertical line in a sweeping forward motion. However, there is no research to suggest which tracking or guidance system is superior to another. This study examined preference for the three types of tracking in collegiate piano classes at two different universities, one large and one small from different areas of the country. Results will be shared and recommendations for further study will be discussed.
Biographical Information:
Sara Hagen holds a Bachelors degree in Music Education and
the Master’s degree in Music from the University of North Dakota. She earned
the Ph.D. in Music Education and a certification in Computers in Music from the
Cynthia Benson teaches group piano and piano pedagogy
at
Using Director in the Group Piano Classroom
(General)
Martha F. Hilley, The
8:30 am, Sat., Nov. 5, St Charles East
Abstract:
Macromedia Director and Dreamweaver combine to present the perfect presentation tools for reinforcing course content in group piano. Demonstration will include technique exercises, sight reading, keyboard theory, harmonization, transposition and improvisation.
Biographical Information:
Martha Hilley joined the
faculty of The University of Texas at Austin School of Music in 1982 as Coordinator
of Group Piano and Pedagogy. Throughout her career she has been active on the
international, national, state and local levels. She has taught in
Technology
Teaching Facility: Redesigning the Music Education Curriculum to Incorporate
Computing and Multimedia (General)
A. C. “Buddy” Himes,
Robert Willey,
11:15 am, Sat., Nov. 5, St Charles East
Abstract:
Research has demonstrated that strong
technology components in music curricula have been effective in attracting
pre-service teachers to, and retaining them in, music education programs. A
grant was written to enhance this music unit’s music education program. This
focused on training pre-service teachers in the utilization of twenty-first
century methodology and techniques in the discipline of music. The goal was not
only to provide instruction in music technology, but to be aligned with real
needs of PK–12 music educators and to meet all state certification
requirements. Hence, the project provided for collaboration among
Biographical Information:
The principal investigator for
the project is A. C. “Buddy” Himes, director of the
Co-investigator for the project is Robert Willey,
assistant professor of music technology. Dr. Willey is an expert in computer
applications for music, administers the SOM’s resource center, and maintains
the SOM Web site. He worked for five years in conjunction with a technology
exchange program between universities in California and Argentina and had a Fulbright
Scholarship to teach composition and performance in Brazil, where he stayed on
to create a teacher training program to develop an online course. In addition
to music courses, he has taught computer programming online and general
education courses in computer literacy. He is presently involved in video
applications, documenting
The University Music Technology Lab: Basic
to Advanced Workstations and the Latest Presentation Equipment (General)
2:00 pm, Fri., Nov. 4, St Charles East
Abstract:
This PowerPoint presentation will focus on the composition of a university music technology lab, including who will build it, how it will be funded and what disciplines will use it. Beginning with instructional objectives and the listing of equipment, details of a simple lab and a “dream” lab will be discussed and supported with photographs. University support for continued upgrades and maintenance are important issues mentioned. The specifics of a lab include hardware and software consideration, including projection systems, surround sound, networks, servers, interfaces, peripheral equipment, screen to screen, synthesizers, software programs and computers.
Biographical Information:
Sanford
Hinderlie, professor of music and director of music technology at Loyola
University New Orleans, teaches music technology and recording techniques. In
1981 he joined the faculty at
Motion in Sound: Some Thoughts on Designing Sound for Interactive Dance
Performance (Intermediate)
Dan Hosken,
2:00 pm, Sat., Nov. 5, St Charles East
Abstract:
Interactive performance is a fast-growing area of electronic music composition and performance. The development over the past decade of computers fast enough to crunch audio in real time and mature, powerful interactive programming environments such as Max/MSP have led many electronic composers to abandon fixed media for live interaction. Along with the development of these powerful processing engines, a number of performance interfaces, both commercial and custom, have been developed to allow MIDI performers, traditional acoustic performers, and, increasingly, dancers to participate in this interactive boom. In this paper I will present a brief overview of interactive programming environments and performance interfaces, and discuss my recent experiences in composing for interactive dance along with examples of that work.
Biographical Information:
Daniel Hosken’s music has been performed at Carnegie Recital Hall, the “Cube” at the MIT Media Lab, and at such festivals as the International Computer Music Conference, the National Conference of the Society of Composers, the National Conference of SEAMUS (Society for Electro-Acoustic Music in the U.S.), the Florida Electro-Acoustic Music Festival, the Seoul International Computer Music Festival, and the International Symposium on Electronic Art. His honors include Finalist in the Concorso Internazionale “Luigi Russolo” and honorable mentions in the ASCAP Grants to Young Composers competition. Hosken was a co-founder of AUROS, a Boston-based new music ensemble, for which he served as co-director and conductor. He has also served as a co-director and conductor for the Madison Chapter of the Wisconsin Alliance for Composers.
Hosken holds a D.M.A. from the University of
Wisconsin–Madison, an M.M. in Composition with Academic Honors from New England
Conservatory of Music, and a B.S. in Music and Physics from the Massachusetts
Institute of Technology. He studied computer music with Barry Vercoe, Tod
Machover, and Robert Ceely, and composition with John Harbison, Stephen
Dembski, and William Thomas McKinley. Hosken is currently an Assistant
Professor of Music at
Jackson, Jay Alan, see Andy Jaffe (Bridge: The Evolution of a Multimedia Work)
The 50% Quartet: A Jazz Duo Performance With
Jay Alan Jackson, Rochester Institute of Technology
Jonny Johansson,
7:30 pm, Thurs., Nov. 3, St Charles East
Abstract:
The 50% Quartet is a jazz ensemble consisting of nine-string guitarist Jonny Johansson, drummer Jay Alan Jackson, and the (fictitious) Ware twins, Hardy and Sofia. The group’s repertoire features original compositions utilizing polyrhythms, multitempos, and odd meters in live improvised performances combined with sequenced bass lines and piano comping.
Biographical Information:
Jay Alan Jackson is a musician, mathematician, and computer scientist. Both a percussionist and a keyboard player, and has played in nearly every musical style from jazz trio, rock, R&B, big band, Dixieland, circus band, African drum-dance, to classical symphony. He holds a Ph.D. in Mathematics from Florida State University, and has taught mathematics and computer science at Michigan Technological University, Duke University, University of Louisiana, Western New England College. He is currently Associate Professor at Rochester Institute of Technology, where he teaches digital audio and other multimedia courses.
Jonny Johansson is a jazz guitarist, composer, and teacher.
He has taught at numerous conservatories and schools, including the Royal
College of Music in
Jacoby, Marc, see Jay Dorfman (MIDI Isn’t Dead, It’s Just Gone Loopy)
Bridge: The Evolution of a Multimedia Work (General)
Andy Jaffe,
Jay Alan Jackson, Rochester Institute of Technology
8:30 am, Fri., Nov. 4, St Charles East
Abstract:
This presentation features a multimedia work that highlights
an original composition for string quartet, clarinet/alto sax, and tabla. It
consists of approximately eight minutes of digital audio that intersperses
synthesized sources with a live concert recording. It contains additional
features that encourage educational exploration, such as an animated notational
score, closed-captioned text containing commentary and analysis, and
supplementary
Biographical Information:
Andy Jaffe is a composer, performer, and recording artist.
His 1996 text, Jazz Harmony (Advance
Music) is now entering its fourth printing and is widely recognized as one of
the most influential in its field. He recently completed work on a new text on
jazz composition. He has been a leader in jazz pedagogy for over twenty-five
years, having taught at the Berklee College of Music, the
Jay Alan Jackson is a musician, mathematician, and computer
scientist. As a drummer, he has had the opportunity to study, perform, and
record with many of the best jazz musicians in the world. He has also conducted
computer music research, written numerous applications programs, and done audio
production. He holds a Ph.D. in Mathematics from
Constructing
Music: “Musikbaukasten”: A Music Discovery
Tool for Children (General)
Timm Jeschawitz,
9:00 am, Sun., Nov. 6, St Charles West
Abstract:
How can an interactive multimedia music tool for children encourage the child in its musical learning and development process at the elementary level? Existing software and hardware applications leave children often detached from their own intuitive world. This presentation will outline the creation and implementation of the music discovery tool Musikbaukasten for children. Emphasis lies on the intuitive and constructive discovery of various music elements and objects. Project examples with children are described. The possibilities for further development of the tool and possibilities and implications are outlined. It is argued that when children work within such an explorative constructive music environment that it will help to enrich their musical development and allows them to discover basic musical concepts in a playful way. One key aspect of this project is the examination of the area of small-scale music creation by children using elements and objects they are already familiar with. Children are engaged in the creation and “use” of musical patterns, musical building blocks and small-scale musical form. With Musikbaukasten, children are able to explore basic music elements and discover music without the knowledge of traditional music notation and without the constraints or prerequisites of traditional forms of music making and creating.
Biographical Information:
Timm Jeschawitz studied Music Education, achieving a
first-class honors degree in Educational Science, Music, Mathematics, and
Physics from the college of education Pädagogische Hochschule Heidelberg in
Johansson, Jonny, see Jay Alan
Jackson (Jazz Duo Performance With MIDI Accompaniment)
ePoster: Coding
Sound, Decoding Gesture: The Relationship between Interactive Arts Technology
and Sign Language Research (Novice)
Allison A. Johnson,
4:00 pm, Fri., Nov. 4, St Charles East
Abstract:
This poster will chronicle and analyze various significant interactive art/sound pieces (MIDI-based and other) and their attendant technologies along with correlated advances in and the use of gesture-recognition systems, real-time data acquisition, Hidden Markov Models, and embodied conversation agents of current sign language research. The multi-sensory, multi-media, and multi-modal nature of interactive art and music technologies has significant intersections with research on machine-based systems for gesture and sign language recognition. Composers and sound artists developing and using such software and hardware as data gloves, softVNS (utilizing Max/MSP), STEIM’s BigEye, and the Composer’s Jacket (MIT Media Lab), complement research involving ASL (American Sign Language) and other sign languages with gesture-recognition and pattern-recognition devices. It is in these practices, which mirror the layered intricacies of gesture/utterance synchronization and the formation and extension of language iconicity, that the art and science of sounding and gestural bodies find common ground.
Biographical Information:
Allison A. Johnson is a composer and postdoctoral fellow at
Johnson, Robert C., see Bruce H. Frazier (Digital Video Basics for Motion Picture Composers)
ePoster: Doctum: A
Software Prototype, Created in Director, for Quickly Generating Music
Fundamentals Worksheets and Tests (General)
Jason Kissinger, SUNY Fredonia
4:00 pm, Fri., Nov. 4, St Charles East
Abstract:
Despite the onslaught of technology currently available to music teachers, one area is severely lacking. Currently, no contemporary program exists that can easily generate paper-based handouts for drills, exercises, and tests, all three of which are crucial to any fundamentals classroom. Doctum is a program prototype designed to fill this gap. The need for such a program is unmistakable as no contemporary source, whether paper or computer-based, effectively accomplishes what Doctum proposes. Computer-assisted instruction, workbooks, notation software, and other programs cannot produce worksheets of the same caliber as Doctum. This program further supersedes these alternative sources by providing students with a stronger and more inclusive education through its content, use of repertoire, oral skills practice, and keyboarding drills.
Biographical Information:
Jason Kissinger received his B.A. in Audio Recording from
Sponsor Session: OASYS—An Intimate Overview of Korg’s Open Architecture
Synthesis Studio (General)
Steve Knowles, Korg
4:00 pm, Thurs., Nov. 3, St Charles West
Abstract:
This session provides an in-depth introduction to OASYS, the acclaimed, innovative new platform for creating, composing and producing music. OASYS provides a full set of audio production tools for the demanding composer, performer and educator, that reflect the changing nature of today’s music making process. Presented by Korg experts involved in the design and development of OASYS, this session includes overviews of OASYS’s studio quality effects processing, second-generation KARMA technology, advanced MIDI sequencing, 16-track audio HD recording with CD burning, flexible MIDI control surface, and more.
Biographical Information:
Steve Knowles, as a specialist for all products at Korg
Electronic Portfolio
Development for Music Education (Novice)
Stefani Langol,
3:00 pm, Fri., Nov. 4, St Charles West
Abstract:
What is an ePortfolio? What is the purpose of an ePortfolio?
How do student’s view the ePortfolio process? In the words of
Biographical Information:
Stefani Langol is a music educator, clinician, author, and consultant. She has spent many years using technology in K–12 music classrooms and has trained hundreds of in-service music educators across the country on effective uses of music technology throughout the K–12 curriculum. In addition, she worked as a PT3 grant training specialist at Berklee College of Music from 2001 to 2003 and has been an educational consultant and music technology applications specialist for SoundTree/KorgUSA, Opcode, Cakewalk, Warner Brothers, Cablevision, GIA Publishing, and Alfred Publishing. Currently, Stefani is Assistant Professor of Music Education at Berklee College of Music. She serves on the Technology Institute for Music Educators (TI:ME) Advisory Board and served as editor-in-chief of the TI:MEs newsletter from 1997 to 2004
Object-oriented Design: Extending Flash
with ActionScript 2.0 Classes (Advanced)
Scott D. Lipscomb, Northwestern University
2:15 pm, Fri., Nov. 4, St Charles West
Abstract:
Many educators have realized the advantage of using interactive materials to enhance the learning experience for students in the music classroom. Macromedia’s Flash has become one of the favorite authoring tools for such development, due to the cross-platform and cross-browser compatibility of the Web-ready SWF files created. Using the new capabilities inherent in ActionScript 2.0, this presentation will begin by demonstrating how easy it is to “correct” a frustrating inconsistency in the Sound class provided with Flash. By creating a new class that extends Macromedia’s Sound class, all references to the playback location in a digital audio file can be referenced in millisecond values, rather than the inconsistent referencing scheme used in the methods created by Macromedia . . . sometimes using milliseconds, sometimes using seconds. Once attendees have experienced the ease with which such powerful changes can be made, the presenter will show several classes—some extensions of existing Macromedia classes, others created from scratch—that were constructed to facilitate the playback of digital music files and their visual representation as a means of facilitating musical learning.
Biographical Information:
Scott D. Lipscomb is an Associate Professor of Music
Education and Music Technology in the
Maldonado, Carlos, see Eugenie Burkett (Panel: Online Education: Bonanza or Boondoggle?)
Exiting the Lab: Real vs. Virtual Space in
the Teaching of Multimedia (Intermediate)
John Mallia, New England Conservatory
11:15 am, Fri., Nov. 4, St Charles East
Abstract:
Multiple workstation computer labs currently function as the primary teaching facilities in most music technology and multimedia studies programs. While this environment facilitates tutorial-based instruction and sharing of student work, courses taught in labs often fail to stress the importance of actual space in the electronic arts, or to provide students with an adequate opportunity to explore the potential of incorporating real space into their artworks. This paper presents a methodology for introducing the concept of spatial composition to music technology and multimedia students at various levels of study. A variety of potential venues, technological tools, projects and techniques will be discussed ranging from collaborative hallway installations, to outdoor site-specific works organized in the manner of a sculpture walk, to interactive performances/happenings occurring in a fully equipped theater designed especially for multimedia. The concepts and techniques included in the presentation are based on my experiences teaching in several music and art departments that vary widely in curriculum and available facilities. Excerpts of collaborative and individual student works will be described and presented.
Biographical Information:
John Mallia is a composer / sound artist who has written for
diverse instrumental, vocal and electronic forces. Much of his recent work is
electro-acoustic and has been performed internationally by organizations such
as L.A. Freewaves (California), Gaudeamus (the Netherlands), International
Computer Music Association, Society for Electro-Acoustic Music in the United
States, Zeppelin Festival of Sound Art (Barcelona, Spain), Festival Synthèse
(Bourges, France), Interensemble’s Computer Arts Festival (Padova, Italy),
Society for New Music (New York), CyberArts, and Medi@terra`s Travelling
Mikromuseum (Greece, Bulgaria, Germany, Yugoslavia, and Slovenia). His collaborative
and individual multimedia installations and sound art have been exhibited at
the EyeDrum Art and Music Gallery in
Ron Mazurek,
Francis Schmidt,
8:00 am, Fri., Nov. 4, St Charles East
Abstract:
Students at
Biographical Information:
Composer Ron Mazurek is currently teaching at
Francis Schmidt has been involved with computer
graphics and animation for twenty years. He has worked as a Digital Visual
Effects Supervisor on such films as Requiem
for a Dream and has created and curated shows of experimental film around
the world, with notable screenings at the Anthology Film Archive and San Francisco
Cinematheque. He is currently a Professor of Art and Animation at
Out in the Wild with the Music Pad Pro
Digital Sheet Music Viewer:
Charles Menoche,
9:15 am, Thurs., Nov. 3, St Charles East
Abstract:
In recent years, viable new consumer products broadly categorized as “digital sheet-music viewers” have begun to offer enticing alternatives to—and advantages over—traditional printed sheet music. The first such product to be widely available was FreeHand System’s Music Pad Pro (http://www.freehandsystems.com). As might be expected with any new commercial product, the manufacturers’ promotional materials touted the product as a solution to a number of common limitations of traditional print music (e.g., page turns, stand lights, wind clips, carrying extensive libraries of printed music, etc.). This presentation will begin with an overview of the product and its basic functionality. The second half of the presentation will focus on a overview of my experiences, those of my colleagues participating in a trial program, and our real-world assessment (“out in the wild”) before, during, and after a chamber concert in which all performers relied exclusively on Music Pad Pro’s.
Biographical Information:
Charles Paul Menoche joined the faculty at Central
Connecticut State University (CCSU) faculty in the fall 2002 as an Assistant
Professor in Music. At CCSU he teaches courses in composition, music theory,
electro-acoustic music, orchestration, and music technology. He holds a
Bachelor of Science degree in Music Education from
ePoster: A Multimedia Presentation of
Analyses of Three Melodramas in
Mary Elizabeth Neal,
Patricia Gray, Associated Colleges of the South
4:00 pm, Fri., Nov. 4, St Charles East
Abstract:
This paper examines three melodramas from Arnold Schoenberg’s freely atonal work Pierrot lunaire, opus 21. Those selected are numbers 10, 13, and 16, so grouped for their dramatic texts and musical setting. Each piece includes a discussion of the of text setting and word painting as well as an analysis of pitch relationships and rhythmic motives and their relationships to the work as a whole, specifically focusing on the recurring seven-note motive found in the first piece of the work, “Mondestrunken.” This paper originated as a plain-text document but has been enhanced by conversion to an online format allowing for the inclusion of animated scores samples, as well as streaming audio and video taken from the live performance given at the 2003 Associated Colleges of the South New Music Festival.
Biographical Information:
Mary Elizabeth Neal is a senior at
Patricia Gray is Instructional Technology Specialist for the
Associated Colleges of the South (ACS)
Crossing Borders: Multi-dimensional Media Collaboration (Novice)
Mike Nord,
9:15 am, Fri., Nov. 4, St Charles East
Abstract:
This presentation will detail both the product and process
of Crossing Borders, a project developed by musician Mike Nord and visual
artist Ann Kresge. Crossing Borders is a collaborative music and visual arts
suite incorporating digital video, improvisation, composition, and ensemble
performance incorporating synthesis, electronics and
Biographical Information:
Dr. Mike Nord is an Assistant Professor of Music Technology
and Music Education, and Director of the Music Technology Lab at
Ohlenbusch, Grace, see Eugenie Burkett (Panel: Online Education: Bonanza or Boondoggle?)
Can Your Theory
Students Run on Autopilot? Online Basic Skills Tests to Bring Them Up to Speed
(Intermediate)
Susan Piagentini, Northwestern University
8:30 am, Fri., Nov. 4, St Charles West
Abstract:
There are many Web sites which offer practice sessions focusing on the rudiments of music theory. While useful in part, they do not require any type of fluency from the student, allowing them to take as much time as they need to answer basic questions. As a result, students are not forced to internalize these rudiments. They may be able to develop the problem-solving strategy to solve a basic task such as determining chord quality, but they lack the rehearsal environment to develop an almost automatic response to any given question. These sites also fail to place these fundamental skills within the context of rich musical scores, more closely modeling real-life professional situations. The presentation will introduce a series of online practice and test modules, as well as an inside view of their planning and programming. The basic skills tests are presented in a variety of settings, gradually adding to the task until it is an application of the analysis experience in preparation for performance. Students and instructors receive immediate feedback upon completion of both the practice sessions and timed tests. The feedback not only includes the number of correct answers, but also itemizes the types of errors. The instructor database not only tracks student progress, but also includes information on strategy and timings between keystrokes. The modules are presented in four different visual and user input templates. In addition, the flexibility of each template allows the instructor to vary the visual presentation, data collection methods, tracking, and timings.
Biographical Information:
Susan Piagentini is the coordinator of the first-year theory
and aural skills curriculum at
Developing a Pedagogy of Electronic
Orchestration: Making Sense of Infinite Choices (General)
Lynn Emberg Purse,
3:15 pm, Sat., Nov. 5, St Charles East
Abstract:
Thousands of different sounds are available in most modern synthesizers; in addition, software synthesizers and digital audio resources have added an infinite number of sound choices for use in arrangements, compositions, and sequences. Faced with the dilemma of too many choices and no guidance in their use, students tend to retreat to a small cluster of sounds with which they are comfortable and familiar, and rarely explore or use effectively the wealth of electronic sound resources currently available for sequencing, arranging, and composing. Electronic Orchestration, as a pedagogical approach with practical applications, has been developed as a course in order to enable the student to fully explore the infinite range of possible electronic sounds and their effective and artistic use in orchestrating a variety of musical projects. A wide sampling of student projects will be used to illustrate course outcomes as realized through software synthesizers, sequencers, notation, and digital audio programs.
Biographical Information:
Lynn Emberg Purse is an
Associate Professor of Music Technology at
Music Professionals’ Judgment of the
Quality of Recorded Music (General)
Richard Repp,
8:00 am, Fri., Nov. 4, St Charles West
Abstract:
Emerging
technologies have made high-fidelity recording a possibility. In today’s
market, musicians are often judged by recorded material they produce rather
than a live presentation. A panel of experts in the field of music will judge
recordings of audition music. The judges compare high-fidelity recordings with
recordings that are of lower quality or that have noise added. The experiment
produces a set of standards that shows the amount of data reduction that can
take place before music professionals can hear the difference in recording
qualities. This information will serve as a guide for those producing recorded
auditions. The performers can weigh the cost of recording services with any
advantage of the better-quality recordings.
Biographical Information:
Richard
Repp is an Assistant Professor of Music at Georgia Southern University. His
main activities include teaching music technology courses, maintaining
technical facilities at the university, and developing music technology
degrees. He holds a Ph.D. in Technology-Based Music Instruction from the
Introduction to Apple’s Logic Pro and Logic
Express (Intermediate)
Raymond Riley,
3:00 pm, Sat., Nov. 5, St Charles West
Abstract:
This hands-on workshop provides participants with a
basic understanding of Logic Pro and Logic Express and will attempt to
demystify some of the routines and functions of this powerful music production
environment. Using fairly simple example files, common workflow techniques are
covered including opening songs, editing audio and
Biographical Information:
Raymond Riley, professor of music, joined the
Schmidt, Francis, see Ron Mazurek (Music and Animation)
Soo, Wai Man, see Eddy K. M. Chong (Integrative and Collaborative Music Learning Using Blogs)
Stinson, Scott, see Eugenie Burkett (Panel: Online Education: Bonanza or Boondoggle?)
Bridging the Gap: From Tutorials to
Finished Compositions in MAX/MSP (Intermediate)
Jeremy Van Buskirk, Longy
2:45 pm, Fri., Nov. 4, St Charles East
Abstract:
Teaching computer music to students who have a great deal of musical training, but very little technical experience presents unique challenges. Their musical training and creativity far outweigh their technical ability when working in a computer music studio. Undergraduate and graduate students studying composition have been exposed to computer music in concerts and in the classroom. Live electronic music has seeped into almost every musical style today. Many students are eager to write live computer music. MAX/MSP is one of the most common programs being used to compose live computer music. MAX/MSP is well suited for learning basic computer-music concepts because it comes with outstanding tutorials. However, learning standard techniques and composing a piece of music are two very different endeavors. Organizing the large amount of data required to compose a moderately sophisticated piece in MAX/MSP can quickly become daunting. The MAX Composition Environment (MAXCE) can help students create live computer music by providing a standardized modular environment with built-in event scheduling to ease the task of organizing compositional processes.
Biographical Information:
Jeremy Van Buskirk is the Director of the Longy Computer
Music Studio. He holds degrees from the Berklee College of Music and the Longy
School of Music. He is currently pursuing a D.M.A. in composition at
Technology Strategies
for Teaching Music Theory (Novice)
Scott Watson,
9:30 am, Sun., Nov. 6, St Charles West
Abstract:
This session will offer many practical, field-tested technology solutions for delivering and augmenting both the written and aural theory curriculum. A variety of software applications and strategies for use by both teacher and student will be demonstrated. Even music theory teachers with only modest technology experience will be able to take something useful away from this session! Included in this survey will be procedures for creating analysis nomenclature with notation software, steps for creating effective multimedia presentations, applications for digital audio, highlights of some popular theory software, and an idea for a final composition project employing music and multimedia technology.
Biographical Information:
Scott Watson (b. 1962,
The Underware: Strategies for Enabling
Student-Constructed Learning in Music Technology Courses (General)
Peter R. Webster, Northwestern University
David B. Williams,
1:00 pm, Fri. and Sat., Nov. 4 and 5,
Abstract:
This two-session presentation will focus on constructionist approaches to introductory music technology courses. These sessions will focus on how this approach can be used in designing courses that (1) introduce music technology concepts with related hardware and software and (2) provide a basis for continued learning long after the class is finished. The emphasis on these presentations will be less on the technology and more on the teaching and learning strategies.
Session I will describe this philosophical approach to course design and will highlight practical ways to engage students in constructing their understanding of music and technology for a lifetime. Session II will show student work and highlight what works and well and what does not.
Biographical Information:
David
B. Williams is professor of music and arts technology at
Peter
R. Webster is the John Beattie Professor of Music Education and Technology at
Williams
and Webster appear frequently as presenters at MENC, College Music Society,
NASM, and Association for Technology and Music Instruction conferences and are
well known for their workshops on the application of technology to music and
music education.
Sponsor Session: GarageBand Projects with
Third-Party Instruments (General)
Lee Whitmore, SoundTree
11:15 am, Fri., Nov. 4,
Abstract:
GarageBand can become a very large compositional palette with third-party virtual instrument libraries added. In this hands-on session participants will use Korg’s Legacy Collection and Ultimate Sound Bank’s Sonic Boombox to create and edit patchlists, install them in GarageBand, and create musical projects. (See next entry for biographical information.)
Sponsor Session: Teaching with Virtual Instruments and
Lee Whitmore, SoundTree
11:15 am, Sat., Nov. 5,
Abstract:
Explore current trends for instruction, composing and performance in a networked music lab. Featuring hands-on projects using Korg’s Legacy, analog and digital editions, instructional techniques for integrating hardware and software instruments with computers will be explored. The demonstration lab will be fully networked with an audio controller for group instruction.
Biographical
Information:
Lee is the Managing Director of SoundTree
(http://www.soundtree.com), the educational division of Korg USA, Inc.
(http://www.korg.com). Distinguished educator, author, clinician and
keyboardist, he has been a leading advocate for the integration of technology
in music education for fifteen years. Lee has authored books and course
materials on the use of
Willey, Robert , see A. C. “Buddy” Himes (Technology Teaching Facility: Redesigning the Music Education Curriculum to Incorporate Computing and Multimedia)
Williams, David, see ATMI Plenary and Peter R. Webster (The Underware: Strategies for Enabling Student-Constructed Learning in Music Technology Courses)
Modeling Tonal Tension and Attraction with
Time-Based Multimedia (Advanced)
J. Kent Williams,
2:00 pm, Sat., Nov. 5, St Charles West
Abstract:
The presenter will demonstrate and describe a suite of multimedia animations and “movies” which represent Fred Lerdahl’s theories regarding tonal tension and attraction in ways that are suitable for presentation to undergraduate and graduate students, as well as professional theorists. To ensure that these illustrations represent Lerdahl’s theories as accurately as possible, the presenter has consulted with professor Lerdahl during the development process.
Biographical Information:
J. Kent Williams is Professor of Music Theory and Technology in the UNC–Greensboro School of Music. He has developed numerous applications for teaching music theory and aural skills and is a faculty co-founder of the Virtual Conservatory.