ON THE EMERGENCE OF AN ENTITY OF ENTROPY v.0.7.3
(2021)
author(s): Udo Maria Fon
published in: Research Catalogue
The last decades have shown that the human sensory system is hardly able to process not local events without technical support. And with technical support, the amount of collected data worldwide, can not be worked up by a single human brain. So either the human sensory organs are not designed to see what is going on in the world, or the human brain is not designed to process this vast amount of data.
Is there a common denominator of perception and cognition existing? Or is the view of the world always scattered?
In this social cognitive concept, specific scientific phenomenons are scaled to social interactions. And describes the interaction of individual and collective perception as co-creation of specific rooms of perception.
BRIEF HISTORY OF PERCEPTION
(2021)
author(s): Udo Maria Fon
published in: Research Catalogue
Even if this brief historical outline of perception is structured chronologically as far as possible, it is difficult to describe the variety of parallel events. This overview, therefore, makes no claim to completeness. It demonstrates that after the establishment of technical aids for the expansion of human perception, phases of an intensive exchange of information begin. This allows existing structures to be viewed and reflected on in a new way. But this does not mean the end of the world in any way. Only the end of an outdated worldview. And that means a new beginning.
Violin education in middle childhood
(2017)
author(s): Koosje van Haeringen
published in: KC Research Portal
Abstract
Title of Research:
Violin education in middle childhood.
Research Question:
How can an optimal musical and violinistic development be achieved in the teaching of children in middle childhood?
Summary of Results:
In middle childhood (7-11/12 years) enter a new phase in the development of their cognitive functions, their motor skills and social behaviour. In this research I investigate how these developments should be understood from the perspective of violin teaching to children in this age group and how these developments can be used by the teacher to the benefit of their education to become all-round violinists and musicians.
For this research I studied the relevant literature in the field of development psychology and the training of young talents and I compared the scholarly theories and insights with my personal experience as a violin and violin methodology teacher of more than 20 years.
In this thesis I describe the great potential that violin teaching to children in middle childhood offers, provided that the teacher has a good understanding of the learning process of the child, a clear vision and long-term strategy for the teaching and tremendous patience. Central elements of this vision should be a clear overview and balanced approach of all the different elements that make an expert violinist and all-round musician, the flexibility to respond and adapt to the specific abilities and needs of each individual pupil and an approach that fully involves the child in his/her own learning process.
how musicians use their brains
(2014)
author(s): Enno Voorhorst
published in: KC Research Portal
When our modern brain developed 100,000 year ago, it perfectly suited the circumstances of that time. Therefore, we remember some things very easily like faces, tastes, routes and also music as a part of the social interaction. Music is an essential feature of the human existence and that is why when we hear a song we like, we will most likely recognize it easily the next day. This is why commercials use images, logos and rhyming texts together with jingles. The information stays in our minds easily, and more completely when it is repeated often. I will refer to this as the natural memorization path.
Memory athletes are able to learn the order of cards in 30 decks within an hour. What they use is the natural memorization path. Simply put, they take a route in their own house, and place images on this route. After learning this they walk along this route and find all the images in the right order. This system is called the Loci-system and was used already by the Greeks.
Musicians can also use the natural memorization path because music also settles easily in our mind. Hearing a song even once is often enough to have it settle in our brains. For musicians, this is a very practical tool for memorization but first some work has to be done. I will go into this later. We can learn more easily, more quickly and, above all, with much more enjoyment. The work that has to be done is developing a solid and immediate translation from the music in our mind to the instrument. For this solfeggio, harmony and analysis are essential tools.
Finally, I will provide some practical tips for a high-functioning brain to learn and to memorize music.
The Cognitive continuum of electronic music
(last edited: 2023)
author(s): Anil Çamci
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
The use of the electronic medium to compose music entails a variety of cognitive idiosyncrasies which are experienced by both the artist and the audience. Structured around this medium on both practical and conceptual levels, this study utilizes a tripartite methodology involving artistic practice, cognitive experimentation and theoretical discourse to investigate these idiosyncrasies. All three components of this methodology operate concurrently to address a succession of questions: How do we experience electronic music? How does electronic music operate on perceptual, cognitive and affective levels? What are the common concepts activated in the listener’s mind when listening to electronic music? Why and how are these concepts activated?
In this dissertation Anil Çamc argues that our experience of electronic music is guided by a cognitive continuum rooted in our everyday experiences. Çamc describes this continuum as spanning from abstract to representational based on the relationship of gestures in electronic music to events in the environment. Conducting this research has significantly expanded my comprehension of the experiential depth of electronic music. It has also affirmed my belief that we have much more to gain from the electronic medium, and that the cognitive continuum is one of its most remarkable offerings.
Movement Practice: A developmental research journey in improvised drumming
(last edited: 2021)
author(s): Conor McAuley
This exposition is in progress and its share status is: visible to all.
About this exposition:
This work documents a progressive journey in improvised drumming. Research was centred around movement, and focused on three major players in the improvised world; Milford Graves, Chris Corsano, and Steve Davis.
The page contains written text analysis of performance, as well as video performance, voice-over, and face-to-camera critique. This mixed methodology, whilst lending itself well to the documentation of progress, resulted in a deepening of knowledge that has now crucially been folded back into my own practice.
Research questions include:
What can I learn from analysing the playing of other drummers? Why do we (drummers) move in certain ways in performance, and why do we play the things we do? What are the processes involved in movement? What can I learn from and how can I develop an awareness around a movement practice? All these questions are aimed at improving my own movement practice behind the drum kit. They were at the fore of this entire portfolio. I address these questions in text, and through video documentation of my own playing.
Themes include:
The role of the body, expression, embodied play, and animated/gestural play. An overarching theme of movement is central to all of this.
Inter_agency
(last edited: 2018)
author(s): Gerhard Eckel, Artemi - Maria Gioti
This exposition is in progress and its share status is: visible to all.
The discourse on interaction in live electronic music is often vague and inaccurate. Interaction – often confused with reaction – means above all reciprocity. There can be no interaction unless all interacting parts within a system are able to perceive each other’s actions, and act both in response to them and according to their own agenda. In human-computer music systems this would mean that not only the performer, but also the computer should be able to “act” – not just re-act. This idealistic vision of sonic human-computer reciprocity lies in the focus of our project. By incorporating machine intelligence in compositions for acoustic instruments and electronics, we seek to establish a reciprocal interaction between the musician as a cognising subject, and the computer as a cognising object.
The last decades have shown that the human sensory system is hardly able to process not local events without technical support. And with technical support, the amount of collected data worldwide, can not be worked up by a single human brain. So either the human sensory organs are not designed to see what is going on in the world, or the human brain is not designed to process this vast amount of data. Is there a common denominator of perception and cognition existing? Or is the view of the world always scattered? In this social cognitive concept, specific scientific phenomenons are scaled to social interactions. And describes the interaction of individual and collective perception as co-creation of specific rooms of perception.open exposition comments (0)
Even if this brief historical outline of perception is structured chronologically as far as possible, it is difficult to describe the variety of parallel events. This overview, therefore, makes no claim to completeness. It demonstrates that after the establishment of technical aids for the expansion of human perception, phases of an intensive exchange of information begin. This allows existing structures to be viewed and reflected on in a new way. But this does not mean the end of the world in any way. Only the end of an outdated worldview. And that means a new beginning.open exposition comments (1)