Live coding (Collins et al. 2003 and other articles in this special issue of Computer Music Journal) is the central performance practice of the Cybernetic Orchestra, a laptop orchestra at McMaster University in Hamilton, Ontario, Canada. Inspired by the idea of participatory culture, the ensemble has been made open to a diverse and ever changing roster of participants, and may be likened to a human laboratory exploring this question: How is live coding scalable onto larger groups of people coming from diverse backgrounds? This article presents the practices that have developed during the first three years of the Cybernetic Orchestra's existence, starting with a summary of our human organization and physical infrastructure. The EspGrid software, developed for enhanced network synchronization and sharing, is reviewed before a final section presents the live coding practices that have crystallized around this specific collective of people, equipment, and code.
Informed by the author’s experience directing the live coding Cybernetic Orchestra at McMaster University, this article discusses three areas in which collective live coding can make strong contributions to music education: the reconnection of studio labour to public musical performance, the exploration of new forms of musical co-presence, and the comprehension of music as positioned within a wider digital media context.
No abstract
Inner Ear is a browser-based aural training software designed to improve and better understand the process and means through which students acquire sound-focused aural skills. Its ongoing development follows educational principles established through years of research with undergraduate music students who major in electroacoustic studies, beginning in 2005. It provides users with ongoing detailed feedback about their performance, areas that need additional work, and an accessible notepad for students to record their insights during practice. It collects data on users’ performance and settings that can later be analysed and shared with their instructor. The design of Inner Ear follows insights that emerged in students’ feedback, provided mostly in home practice reports. Primary among these insights are the needs for individualizable practice environments, diversified exercises, speedy and informative feedback and progress evaluation methods.
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