Beyond Skill Acquisition: Improvisation, Interdisciplinarity, and Enactive Music Cognition

Hayes, Lauren

doi:10.1080/07494467.2019.1684059

Cited by 14 publications

(11 citation statements)

References 15 publications

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“…One such example is the Laboratory for Laptop and Electronic Audio Performance Practice (LLEAPP, cf. Green 2016), which has been hosted six times in Europe and North America (Hayes 2019). Within LLEAPP, participants self-organize within a supportive framework to develop new vocabularies, strategies, and approaches to collective musicking based on their unique sociotechnical histories and typically highly individualized instruments (see Figures 1 and 2).…”

Section: Methodologiesmentioning

confidence: 99%

Addressing NIME's Prevailing Sociotechnical, Political, and Epistemological Exigencies

Hayes

Marquez-Borbon

2020

Computer Music Journal

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Nearly two decades after its inception as a workshop at the Association for Computing Machinery Conference on Human Factors in Computing Systems, New Interfaces for Musical Expression (NIME) exists as an established international conference significantly distinct from its precursor. Although this origin story is often noted, the implications of NIME's history as emerging from a field predominantly dealing with human–computer interaction (HCI) have rarely been discussed. In this paper we highlight many of the recent—and some not so recent—challenges that have been brought upon the NIME community as it attempts to maintain and expand its identity as a platform for multidisciplinary research into HCI, interface design, and electronic and computer music. We discuss the relationship between the market demands of the neoliberal university—which have underpinned academia's drive for innovation—and the quantification and economization of research performance that have facilitated certain disciplinary and social frictions to emerge within NIME-related research and practice. Drawing on work that engages with feminist theory and cultural studies, we suggest that critical reflection and, moreover, mediation is necessary to address burgeoning concerns that have been raised within the NIME discourse in relation to methodological approaches, “equity, diversity, and inclusion,” “accessibility,” and the fostering of “rigorous” interdisciplinary research.

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Section: Methodologiesmentioning

confidence: 99%

Addressing NIME's Prevailing Sociotechnical, Political, and Epistemological Exigencies

Hayes

Marquez-Borbon

2020

Computer Music Journal

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“…These orientations reflect the emphasis given to human experiences and the meaning arising from interaction, rather than mere work or the efficient usage of particular systems. The underlying theoretical basis for such research indeed reflects the emergence of the then recent theories of 4E 13 cognition, and the importance given to them by practitioners (see [13] for a broad discussion, and [23] for the musical implications of such a framework).…”

Section: Research Diversity In Contextmentioning

confidence: 99%

“…While NIME hosts its total proceedings online 22 , it does not archive what may be a much larger number of practice based worksperformances, installation, workshops-which have been crucial in the formation of this body of research. There has been some attempt to rectify this with a formal database of musical proceedings from 2019 alone 23 . Given that without readily accessible means to reference this work, a huge part of NIME's knowledge base will be excluded from readily being configured within both its history and future formations.…”

Section: Quantificationmentioning

confidence: 99%

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Nuanced and Interrelated Mediations and Exigencies (NIME): Addressing the Prevailing Political and Epistemological Crises

Hayes,

Marquez-Borbon

2020

Preprint

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Nearly two decades after its inception as a workshop at the ACM Conference on Human Factors in Computing Systems, NIME exists as an established international conference significantly distinct from its precursor. While this origin story is often noted, the implications of NIME's history as emerging from a field predominantly dealing with human-computer interaction have rarely been discussed. In this paper we highlight many of the recent-and some not so recent-challenges that have been brought upon the NIME community as it attempts to maintain and expand its identity as a platform for multidisciplinary research into HCI, interface design, and electronic and computer music. We discuss the relationship between the market demands of the neoliberal university-which have underpinned academia's drive for innovation-and the quantification and economisation of research performance which have facilitated certain disciplinary and social frictions to emerge within NIMErelated research and practice. Drawing on work that engages with feminist theory and cultural studies, we suggest that critical reflection and moreover mediation is necessary in order to address burgeoning concerns which have been raised within the NIME discourse in relation to methodological approaches, 'diversity and inclusion', 'accessibility', and the fostering of rigorous interdisciplinary research.

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“…Through innovative learning technologies focusing on improvisation, music students may explore their embeddedness in a given milieu while simultaneously bringing contributions to the living enactment and transformation of the socio-cultural environment [14,25,40]. Although in recent decades there has been a growing recognition of the importance of improvisation in music education, the question of how it should be introduced and developed is still a challenge for music educators and DMI designers [19,40].…”

Section: Introductionmentioning

confidence: 99%

Improvised Sound-Making within Musical Apprenticeship and Enactivism: An Intersection between the 4E`s Model and DMIs

Corintha

Cabral²

Nime 2021

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Recent years have witnessed the appearance of many new digital musical instruments (DMIs) and other interfaces for musical expression (NIME). This paper highlights a well-established music educational background theory that we believe may help DMI developers and users better understand DMIs in the context of music cognition and education.From an epistemological perspective, we present the paradigm of enactive music cognition related to improvisation in the context of the skills and needs of 21st century music learners.We hope this can lead to a deeper insertion of DMIs into music education, as well as to new DMIs to be ideated, prototyped and developed within these concepts and theories in mind.We specifically address the theory generally known as the 4E`s model of cognition ( embodied, embedded, extended and enactive,) within DMIs. The concept of autopoiesis is also described. Finally, we present some concrete cases of DMIs and NIMEs, and we describe how the experience of musical improvisation with them may be seen through the prism of such theories.

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Beyond Skill Acquisition: Improvisation, Interdisciplinarity, and Enactive Music Cognition

Cited by 14 publications

References 15 publications

Addressing NIME's Prevailing Sociotechnical, Political, and Epistemological Exigencies

Addressing NIME's Prevailing Sociotechnical, Political, and Epistemological Exigencies

Nuanced and Interrelated Mediations and Exigencies (NIME): Addressing the Prevailing Political and Epistemological Crises

Improvised Sound-Making within Musical Apprenticeship and Enactivism: An Intersection between the 4E`s Model and DMIs

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