ATMI 2005 - Presentation Abstracts & Presenter Bios
[complete program (PDF)]

Dr. Trombone: The Development of a Computerized Musical Training Aid (General)

Sean Atkinson, Florida State University

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 Furman University has shown that the combined process of looking at waveforms and hearing one’s performance is extremely beneficial in improving a player’s overall technique.

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, Concordia University, Montréal

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 Ohio State University

Michael Arenson, University of Delaware

David B. Williams, Illinois State University

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, Rhode Island College

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 MIDI (Musical Instrument Digital Interface). Translating existing orchestral files such that they will respond to MIDI is a bit tricky, but learning how to do so can open a world of sound possibilities for use in a live performance situation.

Biographical Information:

James Bohn has served as a guest artist at the 7–11 festival in Urbana, Illinois, and at “Most Significant Bytes 2002” in Akron, Ohio. He has had his video works presented at the “MAXIS Festival of Sound and Experimental Music,” at “MEDiA CIRCU[it]S,” at the “Florida Electro-Acoustic Music” Festival, and on the Los Angeles area television program “The New Composers 27 Minute Companion.” His music appears on several recording labels: Capstone, The Experimental Music Studios, Frog Peak, independent opposition, me’d1.ate, and The Media Café. As a scholar, James is a regular reviewer for the Computer Music Journal. He has also given papers at conferences for the American Musical Instrument Society, the Association for Technology in Music Instruction, Technological Directions in Music Learning, the MAXIS festival, and the American Chemical Society. His book on Lejaren Hiller is available on Edwin Mellen Press. Bohn teaches Music Theory and Technology at Rhode Island College.

High Touch in High Tech Classes: The Human Element in Online Learning (Novice)

Judith Bowman, Duquesne University

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., Eastman School of Music; B.S., Nazareth College of Rochester. Author, articles on music education and music technology. Co-author, Applications of Research in Music Technology (MENC, 1994). Frequent presenter on music education and music technology in the U.S. and internationally. Recipient, Duquesne University Creative Teaching Award. Creator, Duquesne’s M.M. in Music Education Online.

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, University of Alabama in Huntsville

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 University of Alabama in Huntsville, where he also serves as Jazz Director and Music Technology Director. Dr. Bowyer received the Doctor of Arts at the University of Northern Colorado, and has taught at every level from kindergarten through university in the United States, the U.S. Virgin Islands, and Sweden. Bowyer’s interests in music technology are focused on the field of computer-assisted instruction in music, with a particular interest in Internet and handheld PDA delivery.

Panel Discussion: Online Education: Bonanza or Boondoggle? (General)

Eugenie Burkett, University of Nevada, Las Vegas, moderator

Participants: Judith Bowman (Duquesne University), Carlos Maldonado (Connect4Education), Grace Ohlenbusch (University of Central Arkansas), and Scott Stinson (University of Miami)

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 University of Nevada, Las Vegas. She was awarded her Ph.D. in Curriculum and Instruction (Music Education) from the University of Wisconsin–Madison. Dr. Burkett has published research in JHRME, NACWPI, and Percussive Notes, and has presented papers at the Southeastern Music Education Symposium (1995), the Qualitative Methodologies in Music Education Research Conference II (1996), the College Music Society (CMS) conferences in Atlanta, Georgia (1996), Kansas City, Missouri (2003), and Miami, Florida (2004), the WEDELMUSIC2002 and 2003 International Conferences on the Web Delivering of Music in Darmstadt, Germany, and Leeds (U.K.), as well as the MENC National Conference in Minneapolis, Minnesota (2004).

Dr. Judith Bowman, Professor of Music Education and Music Technology at the School of

Music, Duquesne University, Pittsburgh. Six years experience in online teaching, plus several years experience in distance learning via ITV. Designed the M.M. in Music Education Online and teach the online music education courses. Co-designed the M.M. in Music Technology and teach an online course in that program.

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 U.S., serving thousands of students in over a hundred universities and community colleges across the country. He received his Ph.D. in Education in 1994 from the University of Illinois at Urbana–Champaign, where he taught music technology before moving to California State University, Northridge in 1995 to head the music technology area. Dr. Maldonado’s main areas of research interest are the scalability of collaborative teaching environments on the Internet, and visual representation for teaching and learning music concepts using interactive Web-based multimedia technologies

Grace Ohlenbusch is currently assistant professor at the University of Central Arkansas in Conway, Arkansas where she is department chair and teaches music education. Ohlenbusch has taught elementary and secondary choral music in the public schools, served as choirmaster and organist for several congregations, and taught at Texas Lutheran University and St. Edward’s University. Her undergraduate degrees are from Texas Lutheran University. Ohlenbusch has master’s degrees from Southwest Texas State University and from The University of Texas at Austin. She earned a doctor of musical arts degree in music education from Shenandoah University, Winchester, Virginia.

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 University of Miami under the direction of Dennis Kam. A practicing composer, Stinson’s chamber opera Tutankhamen was performed by the IU opera theatre; he is currently at work composing a three-act opera based upon Mary Shelley’s Frankenstein. His research interests include the piano etudes of Ligeti, contemporary opera, and historical women composers. Dr. Stinson is a member of University of Miami’s theory faculty where he has utilized online and Web camera instruction for theory classes.

Integrative and Collaborative Music Learning Using Blogs (Intermediate)

Eddy K. M. Chong, National Institute of Education, Singapore

Wai Man Soo, National Institute of Education, Singapore

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, Singapore.

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, Singapore and is Senior Training Manager with a global bank.

Steiner MIDI EVI and the Realization of Expressive Potential (Novice)

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 MIDI instrument with exceptional expressive capabilities. Its considerable musical potential is largely unrecognized outside of recording studios for commercial music, film, and television. This paper documents the scope of the instrument’s functionality, details its optimal operational parameters, and provides an overview of the synthesizer/sound module settings for a variety of musical styles and effects. These findings are valuable not only for the MIDI EVI, but apply to most wind/breath controllers.

Biographical Information:

Frank Clark (Director and Professor of Music, College of Architecture, Georgia Institute of Technology) is a sought-after composer, multimediast, and music technology consultant. His multimedia works have been performed throughout the United States and most notably at Carnegie Hall (2001). His commissioned and published compositions range from clarinet quartets to vocal jazz and full symphonic compositions. Prior to his appointment at Georgia Tech, Clark was Chair of the Department of Music and Coordinator of Music Theory at the University of South Alabama, Coordinator of Music at Lewis Clark State College, and an Assistant Professor at Pacific University and the University of Northern Iowa. He received his Bachelor of Music Education at the Conservatory of Music, University of the Pacific, was awarded a Master’s in Horn Performance from Stanford University, and an completed his Ph.D. in Music Theory/Composition at the University of Arizona, Tucson.

“EEE!” (Eastern’s Electronic Ensemble) (General)

Anthony Cornicello, Eastern Connecticut State University

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, MIDI instruments, and a host of electronic effects. The music played by EEE! ranges from ambient to hip-hop, and most of the pieces are composed or arranged by the students.

Biographical Information:

EEE! has been presenting concerts in Connecticut since February 2002. Each year, students create and perform their own electronic music on a variety of instruments, computers, and unusual interfaces. In the Spring of 2003, EEE! performed throughout the Connecticut State University system, as part of a tour organized by the CSU Arts Council.

Composer Anthony Cornicello (born in Brooklyn, New York, 1964) has been singled out by noted author Joan Peyser (in her book To Boulez And Beyond) as “one of the most gifted composers under 40 in the United States.” Cornicello has received fellowships and awards from the New Jersey State Council on the Arts, Meet The Composer, ASCAP, Rutgers University, and the American Music Center, as well as commissions from the Guggenheim Museum, Meet the Composer, New York New Music Ensemble, Dogen Kinowaki, and the InterEnsemble of Padova, Italy. Recently, he was commissioned by the Scorchio Electric String Quartet to write a work for string quartet and electronics. He has also received commissions from The Auros Group for New Music to write a series of works for instruments and interactive electronics. Cornicello’s works are published by C.F. Peters Corporation and APNM. He is currently an Assistant Professor at Eastern Connecticut State University, where he is Director of the Electronic Music Lab. He also serves as Composer-In-Residence with The Auros Group for New Music (Boston, MA), and Artistic Director of the Studio for Electronic Music, Inc. (Hartford, CT).

MIDI Isn’t Dead, It’s Just Gone Loopy (Novice)

Jay Dorfman, Northwestern University

Marc Jacoby, West Chester University

9:15 am, Sat., Nov. 5, St Charles West

Abstract:

The concept of loop-based composition and song construction has crept into the traditional MIDI sequencing paradigm. The addition of digital audio recording in even the lowest priced programs further blurs the boundaries of digital music creation. This presentation will explore the market of loop-based composition software at various levels of complexity and will provide suggestions for use of this type of software for students of varying age groups and backgrounds.

Biographical Information:

Jay Dorfman received B.M. and M.M. degrees in music education from the University of Miami in Coral Gables, Florida where he studied classical guitar with Juan Mercadal. His writing on music technology research has been published in Florida Music Director. Mr. Dorfman taught instrumental and electronic music at Flanagan High School in Pembroke Pines, Florida from 1997–2003. He is currently pursuing a Ph.D. in Music Education and Technology from Northwestern University in Evanston, Illinois.

Marc Jacoby is an Assistant Professor at West Chester University in Pennsylvania and is the technology specialist for music education. Mr. Jacoby also runs Roxmedia, an educational software company. In addition to releasing their own CD-ROM titles, they have developed software for Yamaha, PlayinTime Productions, Rowloff Productions, and Mark Wessels Publications.

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, Columbia College Chicago

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 University of Chicago and a Master of Music in Jazz Composing and Arranging from the University of Massachusetts at Amherst. His music has been performed by numerous ensembles and soloists including Eighth Blackbird, the Ariel Ensemble Chicago, Pinotage, The West Village Chorale, Nouvelle Lumiere String Quartet, the Asparagus Valley Contemporary Music Ensemble, Concerto Artistico, CUBE New Music Ensemble, Wu Man, and the Contemporary Chamber Players. He was a featured guest composer at the twenty-fifth annual Bowling Green State University New Music and Art Festival in October 2004. The Radgale Foundation honored him with a residency for 2004.

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, Western Carolina University

Robert C. Johnson, Western Carolina University

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 Western Carolina University in 1998 as the first recipient of the Carol Grotnes Belk Distinguished Professorship in Commercial and Electronic Music. He returns to North Carolina from California where he has been active in music for television and film for the last twenty years. The Academy of Television Arts and Sciences has twice recognized him for his contributions to dramatic underscore and sound mixing for television programs. He has also been nominated for several Emmys for his role as music editor on the TV series Quantum Leap, and a Golden Reel nomination for his work on JAG.

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 East Carolina University, and the doctorate in music from the University of Southern California. Recent honors include the James B. Dooley Award for Excellence in Music Teaching and the East Carolina University Music Alumnus of the Year Award, 2000.

Daniel Gonko is a graduate assistant at Western Carolina University, currently pursuing a Master of Music degree in Commercial and Electronic Music with an emphasis in scoring for film and television. He received his Bachelor of Music (Composition/Theory) and his Bachelor of Music Education from Central Michigan University where he studied with David Gillingham. Mr. Gonko has written numerous pieces for various solo instruments and piano, and his most recent piece, Lapse of Time for timpani is available from C. Alan Publications.

Robert C. Johnson is a student in the Master of Music program at Western Carolina University with an emphasis in music technology and motion picture composition. His knowledge of sequencing, music notation, and digital video applications have been useful in his work as a teaching fellow at the university. He holds a Bachelor of Science in Education from Western, and has several years of public school teaching experience in North Carolina. In addition to his work as a composer, he performs as tubist with regional ensembles. He recently served as an intern with Sony Electronic at the National Association of Broadcasters in Las Vegas, Nevada.

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 University of North Texas and Harvard University. Presently on faculty at Texas State University–San Marcos, she has held faculty positions at The University of Texas at Austin and Presbyterian College in South Carolina. She focuses on teaching aural skills.

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 University of North Carolina at Charlotte

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 Virginia Commonwealth University, and the Master of Music degree in Bassoon Performance, the Master of Music in Historical Musicology, and the Ph.D. in Historical Musicology from the Florida State University. He is currently Assistant Professor of Musicology at the University of North Carolina at Charlotte, where he teaches courses in music history, music appreciation, and electronic pedagogy.

Preference for Eye Guidance in Computer-Aided Sight Playing at the Piano (General)

Sara Hagen, Valley City State University

Cynthia Benson, Bowling Green State University

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 Florida State University. She has continued her formal training through attendance at conferences and workshops and is a Certified TI:ME (Technology Institute for Music Educators) Instructor. She has served as the NDMTA Technology Chair since 1996 and currently serves as NDMEA Teacher Education Chair. She is an MTNA nationally certified teacher and holds the Master’s Certificate in NDMTA. Hagen has given numerous workshops, presentations, and papers at local, state, national and international forums. She is the author of a number of publications and serves on the editorial board of the Journal for Technology in Music Learning (JTML).

Cynthia Benson teaches group piano and piano pedagogy at Bowling Green State University and holds graduate degrees from The University of Texas at Austin, Rice University and University of Central Arkansas. She is a member of the Research Committee of the National Conference on Keyboard Pedagogy and has presented research at the international Research Seminar and ISME conferences and at national and state conferences of MENC and MTNA. She has contributed articles to the International Journal of Music Education, Update, Journal of Technology in Music Learning, Texas Music Education Research, Keyboard Companion, and Piano Pedagogy Forum.

Using Director in the Group Piano Classroom (General)

Martha F. Hilley, The University of Texas at Austin

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 Italy, Belgium, Hawaii, Australia, Norway, Austria and Taiwan. Hilley is co-author of two college piano texts: Piano for the Developing Musician and Piano for Pleasure—the first to embrace digital sequencer technology through disks and the first to provide Web-based computer tutorials.

Technology Teaching Facility: Redesigning the Music Education Curriculum to Incorporate Computing and Multimedia (General)

A. C. “Buddy” Himes, University of Louisiana at Lafayette

Robert Willey, University of Louisiana at Lafayette

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 School of Music, College of Education, and public school faculty.

Biographical Information:

The principal investigator for the project is A. C. “Buddy” Himes, director of the School of Music at the University of Louisiana at Lafayette (UL). With over twenty years experience in higher education, Dr. Himes has administered a career total of over $3 million in gifts and grants for the benefit of the music units he has supervised. Dr. Himes is nationally recognized as an expert in higher education administration. Within the National Association of Schools of Music (NASM) he is currently Chair for Region Nine. He has also been appointed by NASM as an Experienced Evaluator for the Commission on Accreditation. He publishes regularly on administrative topics such as faculty evaluation and retention, fundraising, and management styles.

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 Louisiana culture on DVD, and doing research in sound spatialization.

The University Music Technology Lab: Basic to Advanced Workstations and the Latest Presentation Equipment (General)

Sanford Hinderlie, Loyola University, New Orleans

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 Loyola University. Hinderlie was awarded major grants of nearly one million dollars in 1987, 1998, 2001, and 2004 from the state of Louisiana and several foundations to design and build state-of-the-art recording/electronic/ear-training studios and music technology labs at Loyola and has developed curriculum for these facilities. The director, composer and electronic engineer of An Electronic Dream Odyssey and VooDoTek is known as a jazz pianist, musical demonstrator and performer of MIDI/synthesizer/computer applications (“MacWorld”, Apple Computers, College Music Society, Electronic Music Plus Festivals). He has performed throughout the United States, Europe, Japan, former Soviet Union, and the Middle East. He also composes for television, radio, and films. As the president of STR Digital Records he has produced and recorded twenty-five jazz and blues CDs, including his own recordings, Solo Flight and Hinderlie Plays Hinderlie. He also performs as a jazz pianist in the New Orleans area.

Motion in Sound: Some Thoughts on Designing Sound for Interactive Dance Performance (Intermediate)

Dan Hosken, California State University, Northridge

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 California State University, Northridge, where he teaches courses in music technology and composition and manages the Music Technology Lab and Advanced Projects Studio.

Jackson, Jay Alan, see Andy Jaffe (Bridge: The Evolution of a Multimedia Work)

The 50% Quartet: A Jazz Duo Performance With MIDI Accompaniment (General)

Jay Alan Jackson, Rochester Institute of Technology

Jonny Johansson, Yonkers Music Academy

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 Stockholm and the Music Conservatory of Falun, Sweden. He has performed with many of the top jazz musicians at numerous clubs, concerts, and festivals in the U.S. and Europe. He appears on a number of recordings which feature him playing the nine-string guitar and many of his own compositions. He holds the Doctorate of Musical Arts from New England Conservatory of Music and the Master of Music in Jazz Performance from Manhattan School of Music.

Jacoby, Marc, see Jay Dorfman (MIDI Isn’t Dead, It’s Just Gone Loopy)

Bridge: The Evolution of a Multimedia Work (General)

Andy Jaffe, Williams College

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 MIDI track, instrument sounds, images, and video. The talk is intended to be an informative documentary on the making of the work as well as an exhibition of its finished form, including a demonstration of its interactive and instructional capabilities.

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 University of Massachusetts–Amherst graduate program in Afro-American Music and Jazz, the Institut Musical de formation Professionelle in Nimes, France, Amherst College, Tufts University, and Smith College. He is currently the Lyell B. Clay Artist in Residence and Director of Jazz Activities at Williams College, as well as Artistic Director of the Williamstown Jazz Festival.

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 Florida State University, and has taught at Michigan Technological University, Duke University, University of Louisiana, and Western New England College. He is currently Associate Professor at the Rochester Institute of Technology, where he teaches digital audio and other multimedia courses.

Constructing Music: “Musikbaukasten”: A Music Discovery Tool for Children (General)

Timm Jeschawitz, Trinity College Dublin

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 Germany in 1998. As part of his studies he worked as a schoolteacher in secondary and primary schools in Germany. Carrying on from this he completed a first-class honors M. Phil in Music and Media Technology in Trinity College Dublin, Ireland in 2000. Here he specialized in interactive networked sound/visual installations. He commenced his Ph.D. at the Trinity College Dublin in 2000. His research area is based around interactive music learning systems. As part of his Ph.D. research he is currently working on the development of an interactive multimedia framework for music pedagogy for children. One of the main motivations of his work is the investigation of explorative physical and virtual environments for children and adults. He was involved in a one-year collaboration with the Medialab (MLE) Dublin/Boston in 2001. While continuing his research at the Trinity College Dublin, Timm also holds a lecturing position at the School of Creative Technologies at the Institute of Art, Design and Technology in Dun Laoghaire Dublin.

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, Occidental College, Los Angeles

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 Occidental College in Los Angeles, where she teaches in the Music, Asian Studies, and Cultural Studies departments. She received degrees in music from Stanford University, CalArts, and UC San Diego, and studied gamelan in Surakarta, Java with Suhardi. Her compositions have been performed at the Berlin Volksbühne, the Zürich Biennale, the New West Electro-Acoustic Music Festival, and Frau Musica (nova) Festival in Cologne, among others, and her papers have been presented at such conferences as the Society for American Music, Feminist Theory & Music 6, and the International Conference of Asia Scholars in Berlin. Her writings on music have been published by Studio-Verlag and in the journal 21st Century Music.

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 California State University at Dominguez Hills in 2001 and an M.M. in Music Theory from State University of New York at Fredonia in 2005. Jason’s background in multimedia extends from his undergraduate training as well as a two-year stint in Los Angeles working for a recording studio/DVD production house. Recently, Jason has become interested in the uses and benefits of technology when applied to teaching music theory. With plans to further his education and earn a Ph.D., Jason hopes to become a college professor specializing in music theory and multimedia for musicians.

Sponsor Session: OASYS—An Intimate Overview of Korg’s Open Architecture Synthesis Studio (General)

Steve Knowles, Korg Canada

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 Canada, conducts a variety clinics and training sessions for Canadian dealers, and also assists in product development and marketing. Steve offers his audience a presentation that integrates “real-world” applications and insight drawn from his musical experiences, and in demand, for both of Canada’s official languages. He graduated with high honours with a BFA in Music Specialization from Concordia University in formal music training. Steve has been a working musician performing for many years with many different bands in various genre. Along with this performing experience are many years as a piano teacher and he is currently working in the areas of music for multimedia. Steve brings with him a wealth of musical knowledge and experience. So listen up!

Electronic Portfolio Development for Music Education (Novice)

Stefani Langol, Berklee College of Music

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 Pearl and Leon Paulson, “the portfolio is a laboratory where students construct meaning from their accumulated experience.” This demonstration session first examines various types of portfolios—learning portfolio, assessment portfolio, employment portfolio, working portfolio, presentation portfolio—then will explore the process of creating electronic portfolios using a variety of multimedia tools, including digital video, digital audio, and Web authoring tools such as Apple’s iLife Suite (iMovie, iTunes, iDVD, iPhoto, and GarageBand), and AquaMind’s NoteTaker.

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