Anna Rita Addessi

BeSound: embodied reflexion for music education in childhood

Embodiment and reflexive interaction proved to be effective approaches to music education in childhood. A research challenge consists of merging them. This paper presents BeSound, an application intended to support children in learning the basic elements of composition. Children explore rhythm, melody, and harmony by playing at mimicking objects or characters; the qualities of their whole-body movements are analysed in real-time according to Rudolf Labans Theory of Effort and used to control sound. The paper focuses on the design of BeSound and describes the analysis performed to distinguish between direct and flexible movements - the Labans Space component - and between light and heavy movements - the Labans Weight component.

The MIROR project

The MIROR project is an European Union funded project under the 7th Framework programme (Technology-enhanced learning). The project is in its first year and so the aim of this paper is to explain its background and rationale, to describe its aims and structure. The MIROR Project deals with the development of an innovative adaptive system for music learning and teaching based on the reflexive interaction paradigm. The reflexive interaction paradigm is based on the idea of letting users manipulate virtual copies of themselves, through specifically designed machine-learning software referred to as interactive reflexive musical systems (IRMS). MIROR aims at extending the IRMS paradigm with the analysis and synthesis of multisensory expressive gesture to increase its impact on the musical pedagogy of young children. The MIROR platform will be developed in the context of early childhood music education. It will act as an advanced cognitive tutor, designed to promote specific cognitive abilities in the field of music improvisation, composition and body performance, both in formal learning contexts (kindergartens, primary schools, music schools) and informal ones (at home, kinder centers, etc.).

Análise auditiva do Quartetto per archi in due tempi (1955) de Bruno Maderna

O presente estudo sobre quarteto de Maderna visa comparar axa0“macroforma” (a grande estrutura de uma peca musical) percebida por individuos porxa0meio da audicao da obra em tempo real, e as “macroformas” percebidas porxa0analistas/especialistas da musica. O estudo tambem analisa a correlacao entrexa0“macroforma” e percepcao de tensao/relaxamento. Dois grupos de individuosxa0tomaram parte no experimento: 25 nao-musicos e 32 musicos. O experimento foixa0realizado em Bolonha e em Edimburgo. Foi utilizado um programa de computadorxa0especial, que permitiu que cada sujeito ao ouvir a obra atraves de fones de ouvido, indicasse os pontos de divisao percebidos de tensao/relaxamento, enquanto escuta emxa0tempo real. O experimento durou cerca de 60 minutos e envolveu varias etapas exa0tarefas. Depois de uma escuta inicial, que serviu para a familiarizacao com a peca exa0com o programa de computador, os sujeitos tiveram de ouvir a peca novamente e identificar suas secoes principais. Eles, entao, tiveram de indicar os criterios que usadosxa0na formulacao de suas solucoes. Na escuta seguinte, os participantes indicaram asxa0maiores zonas de tensao e relaxamento percebidas. As macroformas percebidas pelosxa0individuos foram comparadas com as 4 macroformas indicadas pelos especialistas emxa0analise musical com base em processos auditivos e nao em teorias analiticas. Os dadosxa0revelaram maior correlacao entre as macroformas percebidas pelos sujeitos em apenasxa02 macroformas indicadas pelos analistas, e tambem a correlacao entre as macroformasxa0e tensao/relaxamento percebidas pelos participantes. As diferencas entre os musicos exa0nao musicos e dos grupos italianos e de Edimburgo nao foram significativas.

Auditive analysis of the Quartetto per Archi in due tempi (1955) by Bruno Maderna

The present study on Madernas quartet aims to compare the “macroform” (the large-scale structure of a musical piece) perceived by subjects while listening to the piece in real time, and the “macroform” as perceived by professional analysts. The study also examines the correlation between “macroform” and perception of tension/relaxation. Two groups of subjects took part in the experiment: 25 non-musicians and 32 musicians. The experiment was carried out both in Bologna and in Edinburgh. We made use of a special computer program, which allows each subject to listen to a piece through head-phones and indicate the points of division and the tension/relaxation perceived while listening in real time. The experiment lasted approximately 60 minutes and involved various steps and tasks. After an initial listening which served to become familiar with the piece and with the computer program, the subjects had to listen to the piece again and identify its main sections. They then had to indicate the criteria they used in formulating their solutions. In the next listening they had to indicate the largest zones of tension and relaxation they perceived. The macroforms perceived by the subjects were compared with 4 macroforms indicated by professional analysts based on listening rather than on analytical theories. The data showed higher correlation between macroforms perceived by the subjects and only 2 macroforms indicated by the analysts, and correlation between the macroforms and tension/relaxation perceived by subjects. The differences between musicians and non musicians and Italian and Edinburgh groups were not significant.