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published_or_final_version / Sociology / Doctoral / Doctor of Philosophy

This critical overview draws upon a portfolio consisting of two book chapters, three journal articles and one conference paper all published in international publications between 2011 and the present. The papers have been underpinned, supported and disseminated through 18 conference presentations and a variety of interventions with the commercial environment, all undertaken during the same period. The outputs are crossdisciplinary encompassing technology, acoustics, psychoacoustics, business, music, psychology, physiology, cultural studies etc. The work is tied into two sets of funding from the Higher Education Academy (HEA) focussing on the use of emergent technology to develop music producers’ expertise. The work therefore represents a cohesive but diverse set of outputs, and is reflective of the technologically-driven nature of the creative industries, and the multidisciplinary experience of the author.

Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Elder School of Music, 2004

Thesis (Ph. D.)--Rutgers University, 2009. / "Graduate Program in Music." Includes bibliographical references (p. 170-176).

The designs of two functional magnetic resonance imaging-compatible electronic interfaces for use in neuropsychological studies involving musical tasks are presented. The devices, a two-button response box in the form of a computer mouse and a piano keyboard, were designed for rhythmic tapping and piano performance tasks, respectively. In order to correlate changes in neural activation acquired through magnetic resonance imaging (MRI) with task performance, the electronic collection of behavioural data, such as the timing of button or key presses was required. These behavioural measures were captured electronically and communicated to a host computer for synchronization with feedback, stimuli, and the MRI scanner itself. As well, data was logged for offline analysis. Due to the intense and volatile electromagnetic fields, most commercially-available electronic interfaces do not function properly and can even pose a serious safety hazard within the MRI scanner environment. Therefore these custom-designed interfaces were free of ferromagnetic parts and all electronic components were relegated to the control room outside of the scanner environment. Acquisition of button and key presses was accomplished using fibre optic sensors, which are immune to electromagnetic interference. The devices performed successfully within the scanner, and MRI scans showed no image artifacts caused by the prototypes. Sensing of key and button transition velocity was sufficient after extensive calibration. Next generation prototypes are planned and will implement more robust and tighter tolerance manufacturing, improved sensing techniques, the acquisition of isometric forces, and an auto-calibration scheme.

<p> Since being introduced into classrooms in the late 1990s, online instruction has grown substantially both in student enrollment and the number of programs offered at state, district, and multi-district levels. Although having been applied liberally to all core subjects and many supplemental subjects, online instruction has yet to be utilized extensively in the musical arts. Courses in music performance present a unique set of technological and logistical challenges when adapted to an online setting. Nevertheless, private music teachers have utilized Internet resources extensively. Similar techniques applied to public school music programs, however, have yet to be explored thoroughly. Utilizing a combination of asynchronous instruction and synchronous instruction for teaching online music performance courses offers a potential for study and development. </p><p> The purpose of this study was to establish the feasibility of an online music performance course that included both asynchronous and synchronous instruction. An approach that utilized both a multimedia blog format and real-time video instruction was developed, implemented, and delivered to a limited group of trombone students as a pilot study. Nine students participated in online trombone lessons that focused primarily upon the development of performance fundamentals. The delivery of content was assessed to determine a feasible format for music performance instruction in an online setting. Although typical technological shortcomings were experienced during instructional settings, students were able to identify, explain, and apply concepts gleaned from the blog and real-time video lessons. </p><p> Internet-based resources have been applied to independent and collegiate music performance instruction; pedagogical approaches, however, have not been developed for use in secondary level online learning programs. Consequently, online music performance instruction has not evolved as rapidly as online instruction of core academic subjects. As technological advances become available, the possibility for delivering online instruction in areas of the performing arts, and especially in music performance, becomes more feasible and likely will be integrated into the curricula of many online learning programs. Until such time, the implementation of viable online instructional models is essential for the development of traditional music performance courses.</p>

New electronic technologies began to appear after 1948 that seemed to promise the infinite expansion of sonic possibilities in music. The ability to record and manipulate existing sounds (as in musique concrete), and to generate new, unknown timbres with electronic generators (as in elektronische musik), provided an extraordinary multiplication of musical resources.Much literature of the period extols the new possibilities offered by electronic music, but the limitations of the technology of the 1950s and 1960s and the interactions that occurred between composers and that technology have been little explored. This study attempts to document some of these interactions.The influences of the equipment and procedures of "classical studio technique" on the resulting music are examined. Selected electronic compositions are analyzed in terms of the equipment employed and the limitations this equipment may have imposed. The study reveals characteristics of certain works that are directly dependent on characteristics of the technology. New devices or procedures developed by composers are also detailed.Areas examined include disc technology, magnetic tape, oscillators and generators, filters, modulators and other devices, techniques of spatialization in multi-channel works, and a sampling of specialized devices or procedures used by individual composers. The influences excercised by voltage-controlled synthesizers, such as those designed by Robert Moog and Donald Buchla, are also discussed.Works by the following composers are studied: Bulent Arel, Henk Badings, Louis and Bebe Barron, Luciano Berio, Robert Beyer, John Cage, Mario Davidovsky, Tod Dockstader, Herbert Eimert, Kenneth Gaburo, Paul Gredinger, Karel Goeyvaerts, Bengt Hambraeus, Pierre Henry, Giselher Klebe, Gottfried Michael Koenig, Gyorgy Ligeti, Otto Luening, Bruno Maderna, llhan Mimaroglu, Pauline Oliveros, Henri Pousseur, Dick Raaijmakers, Pierre Schaeffer, Karlheinz Stockhausen, Vladimir Ussachevsky, and Edgard Varese. The writings of Milton Babbitt, Joel Chadabe, and Gustav Ciamaga also contributed significantly.Supplementary information is provided by Jon Appleton, Joel Chadabe, Tod Dockstader, Bengt Hambraeus, David Keane, Arthur Kreiger, Elliott Schwartz, Daria Semegen, Pril Smiley, Gil Trythall, and Scott Wyatt in response to a questionnaire concerning their experiences with classical studio technique.This study reveals that a wide area exists for further research on this topic. / School of Music