This research monograph explores the rapidly expanding field of networked music making and the ways in which musicians of different cultures improvise together online. It draws on extensive research to uncover the creative and cognitive approaches that geographically dispersed musicians develop to interact in displaced tele-improvisatory collaboration. It presents a multimodal analysis of three tele-improvisatory performances that examine how cross-cultural musician’s express and perceive intentionality in these interactions, as well as their experiences of distributed agency and tele-presence. Tele-Improvisation: Intercultural Interaction in the Online Global Music Jam Session will provide essential reading for musician’s, postgraduate students, researchers and educators, working in the areas of telematic performance, musicology, music cognition, intercultural communication, distance collaboration and learning, digital humanities, Computer Supported Cooperative Work and HCI.

Music, Technology, Innovation: Industry and Educational Perspectives draws upon cutting-edge practice in the use of technology from both a pedagogical and industry perspective. Situated within the latest research, this edited volume explores technological innovation from a musical perspective, examines current trends within the industry, and carefully considers them from an educational perspective. Noted throughout history, music education is responsive to industry innovations. However, emerging technologies often begin with over-hyped promises before they move through various phases of development and are then repurposed for learning and teaching. Educators can adopt an innovation and develop a framework that is pedagogically sound and learner-centred. Based on these ideas, the authors together highlight industry innovations that have potential outcomes for engaging students in music learning within research-informed practices, build upon these ideas and identify proactive mechanisms for teaching music education, and work towards developing a framework for understanding these phenomena. The chapters address key topics including the ethics of technology, AI and music, online performance and teaching, gamification, big data, teaching audio production, acoustic ecology, and more. The examination of areas in contemporary innovation can further support the potential to empower teachers and students to understand the opportunities for teaching, sustainability, and growth in music education.

Over the last few decades, the notion of improvisation has enriched and dynamized research on traditional philosophies of music, theatre, dance, poetry, and even visual art. This Handbook offers readers an authoritative collection of accessible articles on the philosophy of improvisation, synthesizing and explaining various subjects and issues from the growing wave of journal articles and monographs in the field. Its 48 chapters, written specifically for this volume by an international team of scholars, are accessible for students and researchers alike. The volume is organized into four main sections: I Art and Improvisation: Theoretical Perspectives II Art and Improvisation: Aesthetical, Ethical, and Political Perspectives III Improvisation in Musical Practices IV Improvisation in the Visual, Narrative, Dramatic, and Interactive Arts Key Features: Treats improvisation not only as a stylistic feature, but also as an aesthetic property of artworks and performances as well as a core element of artistic creativity. Spells out multiple aspects of the concept of improvisation, emphasizing its relevance in understanding the nature of art. Covers improvisation in a wide spectrum of artistic domains, including unexpected ones such as literature, visual arts, games, and cooking. Addresses key questions, such as: - How can improvisation be defined and what is its role in different art forms? - Can improvisation be perceived as such, and how can it be aesthetically evaluated? - What is the relationship between improvisation and notions such as action, composition, expressivity, and authenticity? - What is the ethical and political significance of improvisation?

The Creative Reflective Practitioner explores research and practice through the eyes of people with a wholehearted commitment to creative work. It reveals what it means to be a reflective creative practitioner, whether working alone, in collaboration with others, with digital technology or doing research, and what we can learn from listening and observing closely. It gives the reader new insights into the fascinating challenge that having a reflective creative mindset can bring. Creative reflective practice is seen through practitioner ideas and works which have informed the writing at every level, supported by research studies and historical accounts. The practitioners featured in this book represent a broad spectrum of interdisciplinary creative activities producing works in film, music, drama, dance and interactive installations. Their work is innovative, full of new ideas and exciting to experience, offering engagement and challenge for audiences and participants alike. Practitioner interviews give a direct sense of how they see creative practice from the inside. The ways in which these different situations of practice stimulate and facilitate reflection in practice and how we can learn from this are described. Variations of reflective practice are discussed that extend the original concepts proposed by Donald Schön, and a contemporary dimension is added through the role of the digital in creative reflective practice as a tool, mediator, medium and partner. This book is relevant to people who wish to understand creativity and reflection in practice and how to learn from the practitioners themselves. This includes researchers in any discipline as well as students, arts professionals and practitioners such as artists, curators, designers, musicians, performers, producers and technologists.

The Digital Musician, Third Edition is an introductory textbook for creative music technology and electronic music courses. Written to be accessible to students from any musical background, this book examines cultural awareness, artistic identity and musical skills, offering a system-agnostic survey of digital music creation. Each chapter presents creative projects that reinforce concepts, as well as case studies of real musicians and discussion questions for further reflection. This third edition has been updated to reflect developments in an ever-changing musical landscape—most notably the proliferation of mobile technologies—covering topics such as collaborative composition, virtual reality, data sonification and digital scores, while encouraging readers to adapt to continuous technological changes. With an emphasis on discovering one’s musical voice and identity, and tools and ideas that are relevant in any musical situation, The Digital Musician is sure to be an invaluable student resource for years to come. Features of the third edition: Additional case studies, with new interviews exclusive to the third edition Revised chapter structure with an emphasis on student focus and understanding, featuring additional and expanded chapters Reinstatement of selected and updated first edition topics, including mixing, mastering and microphones Companion website featuring case study interviews, a historical listening list, bibliography and many additional projects Visit the companion website: www.andrewhugill.com/thedigitalmusician

Interactive Music Systems provides the first comprehensive survey and evaluation of new computer programs that can analyze and compose music in live performance.

Contributions : Brian Eno, John Cage, Jacques Attali, Umberto Eco, Christian Marclay, Simon Reynolds, Pierre Schaeffer, Marshall MCLuhan, Derek Bailey, Pauline Oliveros, Tony Conrad, David Toop... etc.

The use of interactive technology in the arts has changed the audience from viewer to participant and in doing so is transforming the nature of experience. From visual and sound art to performance and gaming, the boundaries of what is possible for creation, curating, production and distribution are continually extending. As a consequence, we need to reconsider the way in which these practices are evaluated. Interactive Experience in the Digital Age explores diverse ways of creating and evaluating interactive digital art through the eyes of the practitioners who are embedding evaluation in their creative process as a way of revealing and enhancing their practice. It draws on research methods from other disciplines such as interaction design, human-computer interaction and practice-based research more generally and adapts them to develop new strategies and techniques for how we reflect upon and assess value in the creation and experience of interactive art. With contributions from artists, scientists, curators, entrepreneurs and designers engaged in the creative arts, this book is an invaluable resource for both researchers and practitioners, working in this emerging field.

T-Kits ( = Training kits) are a product of the Partnership Agreement on European Youth Worker Training run by the CoE and the European Communities Commission