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Staying In-Between “Music Technology” Staying in-between CMT “Music Technology” in Higher Education (Post-modern) Challenges and Opportunities for Music Technology Education Carola Boehm Centre for Music Technology Department of Music Department of Electronics & Electrical Engineering Carola Boehm carola@music. gla.ac.uk London Dec 2005 Slide 1 Intro - The Questions Music Technology Education – how do we create a h supporting and educationally valuable environment for CMT students and staff in an area which h reaches not only over different scientific domains, h but also over different working and investigatory methodologies, h different approaches for presentation and practice, h different underlying - but implicit - justificational hypotheses, h different vocabularies and terminologies h as well as different conceptual frameworks Carola Boehm h …… - not even to mention often different budgets and administrative units. London Dec 2005 Slide 2 Intro – The Project “Betweening” h There is substantial complexity involved in providing genuinely interdisciplinary degrees CMT s how do existing educational frameworks allow interdisciplinary degrees, such as “music technology”, to be taught h in general degree curricula of multidisciplinary nature tend to be given as if they fit seamlessly into our traditional, mono- discipline -based academic structure s How can we face the interdisciplinary challenge of “betweening”, existing on all levels of academic endeavour: from teaching and learning to administration and research h a case study – “Music Technology” Carola Boehm London h Ca 40 visits to institutions in 2006 Dec 2005 and a questionnaire using cognitive interviewing techniques Slide 3 At the beginning….. There was data h Meanwhile, back at the ….. there is UCAS data [1] h UCAS data can tell use quantitatively (not qualitatively) • how many degrees are out there (in Britain) CMT • how wide the perception of the subject area is, looking at degre e names • what types of degrees are available and in which ratio h Using UCAS 2006 data • How many BSc’s, BA’s, BEng’s, MEng’s, etc are there? • Which terms are being used to define these degrees? • How many joint, how many honours degrees? • Any trends or tendencies or patterns? h …. But before we turn to UCAS, some views on what the discipline of “Music Technology” encompasses …. h … and also: what’s with all these (post-modern) quotes around “Music Technology”? Carola Boehm London Dec 2005 [1] UCAS Directory 2005 http://www.ucas.com/search/index.html Slide 4 The (post-modern) quotes around “Music Technology” h Music Technology : increasingly reduced to mean sound engineering (or sometimes even EComp), but still used in GB as the widest of terms CMT h Electro-acoustic Music : generally including only composition h Computers and Music : generally perceived as a wide area of knowledge, but excluding sound engineering h Computer Music : used more in the USA h Sonic Arts : used more in GB, implying creative compositional approaches h Sound Technology / Recording Technology / Sound Engineering h Electronic-, Computer-, Digital Music h Electro-acoustic music Carola Boehm London h Computational musicology / Systematic Musicology (used Dec 2005 more in Germany) Slide 5 h Acoustics A bit of Interdisciplinarity: Computer Music, a full taxonomy ? (Pope 1993) 1.3. MusicMusical theory, signal composition, and event representation and performance and 4. Digital control and sound signal synthesis and processing2. Musical acoustics, psychoacoustics, 1.1. Musicnotation theory, sociology, and aesthetics perception, and cognition 5. Hardware support for computer music 4.1. Sound synthesis methods 1.1.1.3.1. Models Music theoryof signals and analysisand events 2.1. Musical acoustics and psychoacoustics 5.1. Hardware for DSP and digital audio 4.1.1. Additive sound synthesis methods 1.1.2.3.1.1. Temperament Language systems and tuning systems 2.1.1. Acoustics of musical instruments and 3.1.2.5.2. Computer Encodings andmusic file formats workstations 4.1.2. Subtractivevoice sound synthesis methods CMT 1.1.3. New musical aesthetics and sociologies 4.1.3. Nonlinear2.1.2. sound Psychoacoustics synthesis methods 1.2.5.2.3.1.3. Composition Input/Output Graphical notation of deviceselectroacoustic systems for musicmusic 4.1.4. Physical2.1.3. models Room of and acoustical spatial acoustics systems 1.2.1.3.2. Musical Sound andevent composition description models languages and notations 4.1.5. Other2.2. synthesis Music methodsperception 1.2.2.6.3.2.1. Computers Models Note-list of formats the in composition music education and performance and computer processes music education 4.1.6. Analysis2.2.1. and Physiologyresynthesis of hearingsystems 1.2.3.3.2.2. SoundMusic inputdesign languages and processing 6.1. Computers in music education 4.2. Time - 2.2.2.and frequency Pitch identification-domain signal processing 1.2.4.3.2.3. RealizationMusic programming and production languages techniques 6.2. Computer music education 4.2.1. Software2.2.3. architecture Rhythm identification 1.2.5.3.3. Musical "Aural rendering"signal description or "sonification languages" of scientific data 4.2.2. Time2.2.4. domain Timbre model perception synthesis 1.3.3.3.1. Algorithmic Signal models and andcomputer descriptions-aided composition 4.2.3. Frequency2.3. Music domain understanding model synthesis and cognition 1.3.1.7.3.3.2. Computer CompositionalSoftware synthesismusic algorithms literature languages and languagesand sources 4.2.4. Ad hoc2.3.1. synthesis Rhythm techniques understanding 1.3.2.7.1.3.4. Music Bibliographies/Composition notation systems anddiskographies printing for score tools or sound synthesis 3.4.1. Transcription or performance 4.2.5. Effects2.3.2. and Key filters and scale recognition 1.3.3.7.2. StudioArtificial Intelligencereports and composition 4.3. Sound2.3.3.spatialization Higher-leveland structures localization 1.4.3.4.2. Performance Optical recognition situations of scores and interfaces 7.3. Descriptions of compositions 4.4. Machine recognition of signals and events 1.4.1. Performing and conducting 7.4. History of electroacoustic music 4.5. Real -time processing and scheduling 1.4.2. Gesture recognition and interfaces 4.5.1. Real-time scheduling 1.4.3. Score following in performance 4.5.2. Real-time languages 1.4.4. Expression representation and analysis Carola Boehm 4.5.3. Hardware architectures London 4.6. MIDI and control processing Dec 2005 Slide 6 A bit of Interdisciplinarity: Computer Music Engineering (Cammuri/dePoli/Dannenberg) CMT Carola Boehm London Dec 2005 [1] Cammuri, Dannenberg, De Poli, ``Instruction of Computer Music for Computer Engineering Slide 7 Students and Professionals,'' in Proceedings of the 1994 ICMC, ICMA, (1994), p. 487. A bit of Interdisciplinarity: Computer and Music CMT Carola Boehm London Dec 2005 Slide 8 A bit of Interdisciplinarity: Elements of Computer Music Moore (1990) CMT Art Science Technology Carola Boehm London Dec 2005 [1] Richard Moore, Elements of Computer Music. Prentice Hall, 1990 Slide 9 A bit of Interdisciplinarity: Music Technology h No taxonomy? Possibly too broad an area? h Or encompassing parts too vocational for HE (I.e. sound engineering)? Mark Thorley (Coventry) has pointed out the oddity : CMT “the degrees around music technology are seen as being highly vocational, although there is no such job as a ‘music technologist’” [1] h I, personally, perceive a widening gap between the scientific/engineering and the artistic aspects of this area (thru RAE and HE politics or cultural tendencies)? h One definition of "Music Technology”: [2] “technology involved with the musical arts…”[3] h Or defined through numerous diverse HE curricula? It is the most Carola Boehm used term in UCAS after all? London • …….. ? Dec 2005 [1] Mark Thorley , Music Technology education – who is the customer, the student or the industry, LIMTEC 2005. Slide 10 [2] Wikipedia contributors, “Music Technology," Wikipedia, The Free Encyclopedia, http://en. wikipedia .org/ (accessed December 9, 2005). [3] “…in particular the use of electronic and digital devices to facilitate playback, recording, storage and “Music Technology” Curricula in Higher Education Andrew Bates (Leeds 2003) looked at “Developing and implementing an HE Music Technology Curriculum”: CMT “Place all the ingredients in a large bowl, stir vigorously until everything is thoroughly mixed together and serve immediately” [1] h Different Ingredients, different flavours, different meals Carola Boehm London Dec 2005 [1] Andrew Bates, Paper presented at the Leeds Music Technology Education Conference, Slide 11 Leeds, November 2003 Different Ingredients, different flavours, different meals “Music Technology” [1] As in Sound Recording, Tonmeister, Record Production, etc CMT Technology Science (Moore, 1990) “Music Technology” Art As in Computational Musicology, Electronic, Audio and Music “Music Technology” Technology Engineering, Music As in Creative Music Informatics, Music Technology Technology, Sonic Arts, Soft/Hardware Development, Electro-acoustic Composition, Digital Music Sound Design, Electronic Music Carola Boehm London …. so let’s turn to number-crunching & UCAS Dec 2005 [1] Notice: I am still hanging on to the term “Music Technology” and its post-modern quotes Slide 12 UCAS and Music Technology Using all degrees 0 10 20 30 40 1 0 5 10 15 20 25 30 35 40 when selecting 13 Unis have 2 2 their category 8 Unis have 3 3 CMT 5 Unis have 1 “Music 4 3 Unis have 4 2 Unis have 15 Technology” 5 2 Unis have 6 6 h 62 different 1Uni has 37 7 Institutions 1Uni has 34 8 1Uni
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