Technological Support for Online Communities Focusing on Music Creation

Abstract

People have always found music significant in their lives, whether for enjoyment in listening, performing, or creating. However, music making in modern life tends to be restricted to the domain of the professional artists, instrumentalists, and singers. Since the advent of Web 2.0 and Rich Internet Applications, the authors’ research group has been investigating the use of Web-based technology to support novice-oriented computer-based musical activities. The main motivation of their work is the belief that no previous musical knowledge should be required for participating in creative musical activities. Consequently, any ordinary user—non-musician or novice—may enhance his creativity through engagement, entertainment, and self-expression. The goal of this chapter is to propose several concepts that emerged during their research concerning novice-oriented cooperative music creation and musical knowledge sharing (a sophisticated activity distinct from the common and well-known music sharing for listening). The authors also discuss key characteristics of Brazilian culture and the creativity styles that inspired their work. They illustrate their perspective by showing how concepts implemented and derived from cases investigated in Brazil represent a comprehensive context for embracing cooperation, flexibility, cross-cultural diversity and creativity. The resulting communityware has music as its intrinsic motivation.

Editorial: Ecologically grounded creative practices and ubiquitous music – interaction and environment

“…By pointing to a growing artistic scene that applies this working method, he suggests that volatility may shape the expansion of music creation. This case underlines the ongoing discussion on the properties of shared resources, tackled by various ubimus projects (Miletto et al 2011; Pimenta et al 2012; Keller et al 2014). Furthermore, it entails a reassessment of lightweight ubimus approaches as a complement to the standardisation of networked platforms.…”

“…McConville’s ‘artist-as-subscription’ model adopts a collective ubimus behavioural ecology inspired by open-source software projects. This community-oriented ubimus approach was initially investigated by Pimenta, Miletto, Keller and Flores (2012), highlighting its connections with participatory design as an extended application of the educational views of Paulo Freire (Lima et al 2012). McConville’s participatory and iterative approach implies a shift from considering the musical work as an object or a thing, 4 to support handling shared resources characterised by their temporal persistence.…”

Challenges for a second decade of ubimus research: knowledge transfer in ubimus activities

“…Regarding the development tools, the Mobile Csound Platform was initially featured in the 2012 UbiMus (FARIAS et al, 2014;LAZZARINI et al, 2012). Conceptual approaches -such as the patterns for musical interaction -were proposed and discussed in various ubimus workshops (FLORES et al, 2010;FLORES et al, 2012). Exploratory artistic paradigms -such as the ecologically grounded creative practices -were proposed as a focus for ubimus research (KELLER et al, 2014a).…”

“…Creativity support metaphors furnish a contact point between musical interaction metaphors (PIMENTA et al, 2012) and the approaches to creativity laid out in interaction aesthetics (KELLER et al, 2015b). Metaphors for creative action differ from domain-specific musical interaction metaphors (see the proceedings of the NIME conferences for multiple examples of the latter).…”

Perspectivas da Forma-Pensamento – Gelassenheit Aplicações e Experimentações em Atividades Criativas Cognitivo-Ecológicas

“…Os resultados da pesquisa ubimus apontam caminhos para superar os empecilhos na transferência de conhecimentos em atividades que envolvem participantes sem treinamento musical. Outro enfoque que vem recebendo atenção renovada na pesquisa ubimus visa o aproveitamento e a implementação de infraestrutura tecnológica fora dos espaços tradicionais para o fazer musical (PIMENTA et al, 2012;SCHIAVONI et al, 2018). Entre as novas aplicações dessa estratégia, podem ser mencionados os trabalhos que utilizam métodos DIY 6 para desenvolver mecanismos de controle e de processamento de áudio que previamente só ficavam acessíveis dentro do âmbito do estúdio (LAZZARINI et al, 2015).…”