Becoming the Maestro - A Game to Enhance Curiosity for Classical Music

Sarasúa, Álvaro; Melenhorst, Mark; Juliá, Carles F.

doi:10.1109/vs-games.2016.7590338

Cited by 4 publications

(3 citation statements)

References 10 publications

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“…Namely, the perception by some of the participants that they did not have enough knowledge to understand these oeuvres was seen as an impediment to access this music. This is consistent with previous research that evidenced that classical music tends to be linked with certain cognitive and social barriers that prevent some individuals from enjoying it (Sarasúa et al, 2016) However, among transformative elements, according to respondents, participants of these 9 contexts had learnt musical concepts, while important topics related to participants' lives and experience had aroused through the debate about the music. Previous literature has already pointed out the benefits of dialogic learning in both instrumental knowledge (Flecha & Soler, 2013) and values, feelings and relationships (León-Jiménez et al, 2020).…”

Section: Discussionsupporting

confidence: 89%

“…Although the objective of public policies should be to offer universal access to what are considered culturally unique practices (Wang, 2017), these continue being inaccessible for some citizens. This is related to the social and cognitive barriers that tend to be associated with classical music and that prevent potentially interested public from going to these concerts (Sarasúa et al, 2016).…”

mentioning

confidence: 99%

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Democratizing Taste on Classical Music for All

López de Aguileta,

Salceda,

Girbés-Peco

et al. 2023

QRE

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The right of every citizen to access cultural heritage, such as classical music, has been widely pointed out by international organizations. However, there are certain barriers that impede members of vulnerable groups from enjoying the benefits of this type of music, namely cultural elitism. Some authors have stated that the taste for classical music depends on the social class. Nevertheless, our research has found evidence that demonstrates that it is not so in nine different contexts. We present here results of Dialogic Music Gatherings (DMG), that demonstrate that everyone can enjoy classical music. Thus, the purpose of this article is to analyze the impact the DMG have had on widening participants’ access to classical music and increasing the taste towards this music from very diverse age and socioeconomic groups. To that end, a survey study was conducted among nine education centers from elementary to adult education. Data has been analyzed through the Communicative Methodology by defining the transformative and exclusionary elements in relation to the access and taste towards the classical music. Results suggest these participants have accessed classical music and increased the taste towards this music after participating in the DMGs, regardless of their social and cultural background.

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Section: Discussionsupporting

confidence: 89%

mentioning

confidence: 99%

Democratizing Taste on Classical Music for All

López de Aguileta,

Salceda,

Girbés-Peco

et al. 2023

QRE

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“…First concrete examples are commercial applications such as Smartmusic 4 , which commercializes Roger Dannenberg's research, Cadenza 5 , based on work by Chris Raphael and Antescofo (Cont, 2008), which has been developed into commercial applications for providing adaptable backing tracks for musicians and music students 6 . Conductor and feedback systems can be also be used for educational purposes, either as a simulation of orchestra conducting for conducting students (Peng and Gerhard, 2009;Baba et al, 2010), or as interactive experiences for helping to introduce general audiences to classical music (Sarasúa et al, 2016).…”

Section: Computational Models As Tools For Music Educationmentioning

confidence: 99%

Computational Models of Expressive Music Performance: A Comprehensive and Critical Review

Cancino-Chacón

Grachten

Goebl

et al. 2018

Front. Digit. Humanit.

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Expressive performance is an indispensable part of music making. When playing a piece, expert performers shape various parameters (tempo, timing, dynamics, intonation, articulation, etc.) in ways that are not prescribed by the notated score, in this way producing an expressive rendition that brings out dramatic, affective, and emotional qualities that may engage and affect the listeners. Given the central importance of this skill for many kinds of music, expressive performance has become an important research topic for disciplines like musicology, music psychology, etc. This paper focuses on a specific thread of research: work on computational music performance models. Computational models are attempts at codifying hypotheses about expressive performance in terms of mathematical formulas or computer programs, so that they can be evaluated in systematic and quantitative ways. Such models can serve at least two purposes: they permit us to systematically study certain hypotheses regarding performance; and they can be used as tools to generate automated or semi-automated performances, in artistic or educational contexts. The present article presents an up-to-date overview of the state of the art in this domain. We explore recent trends in the field, such as a strong focus on data-driven (machine learning) approaches; a growing interest in interactive expressive systems, such as conductor simulators and automatic accompaniment systems; and an increased interest in exploring cognitively plausible features and models. We provide an in-depth discussion of several important design choices in such computer models, and discuss a crucial (and still largely unsolved) problem that is hindering systematic progress: the question of how to evaluate such models in scientifically and musically meaningful ways. From all this, we finally derive some research directions that should be pursued with priority, in order to advance the field and our understanding of expressive music performance.

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