Hostname: page-component-6b989bf9dc-lb7rp Total loading time: 0 Render date: 2024-04-14T22:38:29.975Z Has data issue: false hasContentIssue false
  • English
  • Français

Technique, Creation, Perception and Experience in the Learning of Electroacoustic Music: Some practical proposals

Published online by Cambridge University Press:  05 March 2015

Alessandro Cipriani ,
Vincenzo Core  and
Maurizio Giri
Alessandro Cipriani*
Affiliation:
Scuola di Musica Elettronica – Conservatorio di Musica ‘L.Refice’, Via Michelangelo, 23, 03100 Frosinone, Italy
Vincenzo Core*
Affiliation:
Scuola di Musica Elettronica – Conservatorio di Musica ‘L.Refice’, Via Michelangelo, 23, 03100 Frosinone, Italy
Maurizio Giri*
Affiliation:
Scuola di Musica Elettronica – Conservatorio di Musica ‘L.Refice’, Via Michelangelo, 23, 03100 Frosinone, Italy
*
Email: a.cipriani@edisonstudio.it
info@vincenzocore.com
maurizio@giri.it
Get access Rights & Permissions [Opens in a new window]

Abstract

This article arises from the need to reflect upon the possibility of developing new ways of teaching electroacoustic music, based on the opportunities recently offered by technology and the theories about learning that have been developed in recent decades. After taking into consideration the limits of the current teaching methods, the article examines various theories and approaches that involve questioning the objectivity of the learning process, the concept of multiple intelligences, the concentration on the experience as the focal point of learning and so forth. On the basis of these reflections, and after evaluating various teaching experiences over the past twenty years, the authors make some practical proposals, without imagining a curriculum, but rather by outlining several possible activities within an organic teaching project. To this end, a software program is described and realised in which the learner is engaged through the use of an interactive game format that can be played by the individual or in a group, and that encourages the development of the capacities of analysis, perception, practical skill, knowledge, imagination and creativity.

Type
Articles
Information
Organised Sound , Volume 20 , Issue 1: Special issue: Organised Sound Celebrates 20 Years , April 2015 , pp. 40 - 50
Copyright
© Cambridge University Press 2015 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

Bianchini, R., Cipriani, A. and Core, V. 2015. forthcoming. Virtual Sound (third edition). Roma: ConTempoNet.Google Scholar
Campbell, J. 2008. The Hero with a Thousand Faces. Novato, CA: New World Library.Google Scholar
Cappellani, G., D’Agostino, M., De Siena, L., Mudanò, S. and Paolozzi, G. 2014. Laboratorio di tecnologie musicali. Rome: ConTempoNet.Google Scholar
Cipriani, A. and Giri, M. 2010. Electronic Music and Sound Design, Vol. 1 (second edition), Rome: ConTempoNet.Google Scholar
Cipriani, A. and Giri, M. 2011. Innovation, Interaction, Experience and Imagination in Computer Music Education. In Proceedings of the International Computer Music Conference 2011. University of Huddersfield, UK.Google Scholar
Cipriani, A. and Giri, M. 2014. Electronic Music and Sound Design, Vol. 2. Rome: ConTempoNet.Google Scholar
Gardner, H. 1983. Frames of Mind: The Theory of Multiple Intelligences. New York: Basic Books.Google Scholar
Hunt, A. 2008. Pragmatic Thinking and Learning. Raleigh, NC: The Pragmatic Bookshelf.Google Scholar
Landy, L., Hall, R. and Uwins, M. 2013. Widening Participation in Electroacoustic Music: The EARS 2 pedagogical initiatives. Organised Sound 18(2): 108–123.Google Scholar

FURTHER READING

Arveiller, J. 1982. Comments on University Instruction in Computer Music Composition. Computer Music Journal 6(2) (Summer 1982). 72–78.CrossRefGoogle Scholar
Ausubel, D. P. 1963. The Psychology of Meaningful Verbal Learning. New York: Grune and Stratton.Google Scholar
Badii, A. and Mothersole, P. 2006. Mediating Representations: Domain Knowledge to Pedagogical Content Knowledge. 2nd International Conference on Automated Production of Cross Media Content for Multi-Channel Distribution Proceedings, University of Leeds, UK, 103–109.Google Scholar
Bergson, H. 2001. Time and Free Will: An Essay on the Immediate Data of Consciousness. New York: Dover Publications.Google Scholar
Bianchini, R. and Cipriani, A. 1998. Three Levels of Education in Electroacoustic Music: The Virtual Sound Project. ICMC Proceedings 1998. Ann Arbor, MI: Scholarly Publishing Office, University of Michigan Library.Google Scholar
Bianchini, R. and Cipriani, A. 1999. Virtual Sound On Line: Computer Music Courses on the Internet ICMC Proceedings 1999, Ann Arbor, MI: Scholarly Publishing Office, University of Michigan Library.Google Scholar
Boulanger, R. (ed.) 1999. The Csound Book: Perspectives in Software Synthesis, Sound Design, Signal Processing and Programming. Cambridge, MA: MIT Press.Google Scholar
Brandtsegg, Ø., Inderberg, J.-P., Kvidal, H., Lazzarini, V., Rudi, J., Thelle, N.-J. W., Tidemann, A. and Tro, J. 2012. The Development of an Online Course in DSP Eartraining. Proceedings of the 15th International Conference on Digital Audio Effects (DAFx–12). York, UK, 17–21 September 2012.Google Scholar
Bruner, J. 1960. The Process of Education. Cambridge, MA: Harvard University Press.Google Scholar
Bruner, J. 1996. The Culture of Education. Cambridge, MA: Harvard University Press.Google Scholar
Casati, R. and Dokic, J. 1994. La Philosophie du son. Nîmes: Chambon.Google Scholar
Cipriani, A. 1995. Towards an Electroacoustic Tradition? Proceedings of the International Computer Music Conference. Banff, Canada: International Computer Music Association.Google Scholar
Cipriani, A. and Giri, M. 2006. Integrated System for Cross-Platform/Cross-Application Education on Sound Synthesis and Signal Processing in Proceedings of the International Computer Music Conference 2006. New Orleans, LA: ICMA.Google Scholar
Clarke, M. 2006. From SYnthia to Calma to Sybil: Developing Strategies for Interactive Learning in Music. In J. O’Donoghue (ed.), Technology Supported Learning and Teaching: A Staff Perspective. Hershey, PA: Information Science Publishing.Google Scholar
Clarke, M., Watkins, A., Adkins, M. and Bokowiec, M. 2004. Sybil: Synthesis by Interactive Learning. ICMC Proceedings 2004. Ann Arbor, MI: Scholarly Publishing Office, University of Michigan Library.Google Scholar
Core, V. 2014. La didattica del Sound Design. Tesi di Laurea – Diploma accademico di I livello in Musica Elettronica – Conservatorio di Frosinone – unpublished.Google Scholar
Emmerson, S. 1989. Composing Strategies and Pedagogies. Contemporary Music Review 3: 133–144.Google Scholar
Gardener, H. 1998. A Multiplicity of Intelligences. New York: Scientific American.Google Scholar
Higgins, A.-M. and Jennings, K. 2006. From Peering in the Window to Opening the Door: A Constructivist Approach to Making Electroacoustic Music Accessible to Young Listeners. Organised Sound 11(2): 179–187.Google Scholar
Jonassen, D. 1991. Objectivism vs. Constructivism. Educational Technology Research and Development 39(3): 5–14.CrossRefGoogle Scholar
Jonassen, D. 1994. Towards a Constructivist Design Model. Educational Technology 34(4): 34–37.Google Scholar
Kohler, W. 1929. Gestalt Psychology. New York: H. Liverighthttp.Google Scholar
Landy, L. 2007. Understanding the Art of Sound Organization. Cambridge, MA: MIT Press.Google Scholar
Landy, L. 2012. Making Music with Sounds. New York: Routledge.Google Scholar
Ng, K., Weyde, T. and Nesi, P. 2008. I-MAESTRO: Technology-Enhanced Learning for Music. ICMC Proceedings 2008. Ann Arbor, MI: Scholarly Publishing Office, University of Michigan Library.Google Scholar
Novak, J. D. 1977. A Theory of Education. Ithaca, NY: Cornell University Press.Google Scholar
Novak, J. D. 1998. Learning, Creating and Using Knowledge: Concept Maps as Facilitative Tools for Schools and Corporations. Mahwah, NJ: Lawrence Erlbaum.Google Scholar
Papert, S. 1993. Mindstorms: Children, Computers and Powerful Ideas. New York: Basic Books.Google Scholar
Piaget, J. 1926. The Language and Thought of the Child. New York: Harcourt Brace.Google Scholar
Richard, D. 2008. ‘Oases: From Samarkand to Chang’an to … now’. Organised Sound 13(2): 97–102.Google Scholar
Vishnick, Martin. 2002. Electronic and Electroacoustic Music Composition in Contemporary Education. Journal of Electroacoustic Music 14: 28–35.Google Scholar
Vygotsky, L. 1962. Thoughts and Language. Cambridge, MA: MIT Press.Google Scholar
Watson, J. B. and Rayner, R. 1920. Conditioned Emotional Reactions. Journal of Experimental Psychology 3(1): 1–14.CrossRefGoogle Scholar
Wishart, T. 1994. Audible Design. York: Orpheus the Pantomime Ltd.Google Scholar
Wolf, M. 2008. EARS II: Time for a New Approach To Electroacoustic Music. Proceedings of the first international conference of students of systematic musicology (sysmus08). Graz. www.uni-graz.at/muwi3www/sysmus08/index2.htm.Google Scholar

FURTHER RESOURCES

Rudi, J. DSP: For Children. http://users.notam02.no/~joranru/DSPforChildren.html

Electronic Music and Sound Design site. www.virtual-sound.com.

EARS 2 site. www.ears2.dmu.ac.uk.

The Audio Game site. www.theaudiogame.net.