The First International Workshop on Motor Learning for Music Performance (MOTION2017) investigates the links between music performance training and motor performance features, in order to design systems and interfaces supporting learning of both traditional and novel music instruments. The quality of the motor performance is of great importance in music training, especially in learning how to play a music instrument. This indeed requires accurate movements of the limbs and of the body, fine-grained control of posture, and a high biomechanical efficiency. Moreover, a wrong training approach may cause mechanical problems developing into injuries and levels of excess tension that restrict freedom of movement. Finally, it is well-known that movement and gesture play a major role as conveyors of expressive content in music performance. The workshop represents an occasion to meet and discuss motor performance in music instrument training under different perspectives with a multidisciplinary approach. The goal is to discuss current research, to identify research challenges, to show results, and to foster collaborations. The workshop is partially supported by the EU-H2020-ICT Project TELMI.
Workshop website: http://www.infomus.org/MOTION2017
TELMI: http://telmi.upf.edu
Raspberry Pi Orchestra’s focus is on offering a malleable and affordable platform for the exploration of both musical instrument building and musicianship. The following proposal is comprised of two components: a workshop and a performance. Participants in a day-long workshop will be given an opportunity to learn about the hardware setup, various approaches to sensing user input, instrument design using Pd-L2Ork (a fork of Pure-Data and Pd-Extended), and efficient approaches to communicating musical score. A select group of participants (up to 6) will be also given an opportunity to partake in the performance consisting of two compositions: an arrangement of Brian Eno’s “An Ending (Ascent)” for the Raspberry Pi Orchestra, and a new improvisatory piece devised as part of the latter half of the workshop.
Participants need to bring their own laptops with an ethernet port, an ethernet cable, and headphones/earbuds. Lastly, they are encouraged to bring their own Raspberry Pi if they have one with Raspbian pre-installed
Links:
https://www.youtube.com/watch?v=Ee4VG1uwkDk
https://www.youtube.com/watch?v=s28GdeFwQKk
https://www.youtube.com/watch?v=PaMD44wlUrQ
http://l2ork.music.vt.edu/main/make-your-own-l2ork/software/
http://l2ork.music.vt.edu/main/make-your-own-l2ork/software/raspberry-pi/
http://l2ork.music.vt.edu/main/screenshots/
http://facebook.com/L2Ork
Acoustically Active Augmented Instruments is a workshop at the crossroads of the physical and the digital, bridging musical instrument craftsmanship, acoustics, signal processing and physical computing in order to create hybrid instruments. The workshop aim's is to offer an insight into the augmentation of acoustic stringed instruments with active acoustics - i.e. audio transducers exciting the instrument's physical structure. Gestural input devices will be explored in order to build a control channel for the instruments' electronic layer and different pickup technologies explored.
Note: The participants are invited to bring instruments to be augmented. However, this is not a strict requirement, and we can find workarounds.
Examples
https://vimeo.com/135027177
https://vimeo.com/178605545
Invent your own language-as-instrument! In this workshop we're each going to design an idiosyncratic ‘mini-language’ for making music, and we’ll do it live. Our languages are going to be input as raw text, and our role is to define how this text will meaningfully generate structured sonic events. The instructors will give a gentle introduction to the construction of grammars for parsing, followed by workshop time to experiment and develop their languages, with a little reserved at the end for presentations or performances. We're going to do most of this using a web-based code editor and other open-source browser-based software provided by the instructors. The languages we create will make sound via built-in browser sound capabilities, or via connecting external software and devices through MIDI, websockets, etc.
No experience in any specific technology is necessary, however some programming experience will be helpful (particularly JavaScript). Participants will need access to a computer (such as a laptop) with a modern browser installed (Chrome is strongly recommended), plus headphones. Participants will leave with the knowledge and software required to continue development of their language on their own. The resulting musically-oriented domain-specific languages could serve as musical instruments, platforms for live coding performance, or tools to aid composition.PROGRAM:
Andreas Refsgaard: Eyes, Faces and Ears
Rob Blazey: Kalimbo: an Extended Thumb Piano and Minimal Control Interface
Se-Lien Chuang & Andreas Weixler: Enhanced Phenotype_Figura
Anthony T. Marasco: Listening
Mark Snyder: Facets of Love
Hans Peter Stubbe: Spatial Piano
Venue website: http://www.dkdm.dk/
PROGRAM:
Adam Pultz: Every Vessel Records and Dramatizes the History of Its Manufacture
Cybernetic Orchestra: Improvisation
Andrea Mancianti and Roberto Pugliese: Uroboro
Paul Stapleton and Adam Pultz Melbye: VASPI Improvisation
Sabina Hyoju Ahn: Breath
Fereal: Lady Effulgent
Venue website: http://www.soepavillonen.dk
Cecile Chevalier and Andrew Duff: 200.104.200.2
Dianne Verdonk: Bellyhorn
Matthew Williams: medit8
Danny Holmes: asmr1984
Eric Sheffield: ghostobox
Stephan Moore: Diacousticon
Paula Matthusen and Olivia Valentine: between systems and grounds
Rikard Lindell: Critical Digitalism
Jean-Francois Charles: Scratch
Chris Chafe: A Day in the Sun
Spencer Topel: Spontaneous Symmetry Breaking
Robert Pritchard : The Memory of Your Touch
Marije Baalman: Chrysalis
D. Andrew Stewart and Sang Won Lee: Disappearing: Live Writing
Anders Monrad: Sounding Images
Richard Graham and Christopher Manzione: Disrupt/Construct (2017)
Kacper Ziemianin: LightSeq
Anna Weisling and Anna Xambó: Beacon
Venue website: www.stengade.dk
PROGRAM:
Ben Taylor: Dreams of Massachusetts
Matthew Steinke: Matthew Steinke Robotic Music Performance
Troy Rogers: Mechaglossolalia 2
Scott Barton: Experiments in Augmentation 1
Steven Kemper: Mecxpression Study 1
Christoph Theiler and Renate Pittroff: Liquid Control
Sang Won Lee, Jungho Bang and Georg Essl: Live Coding YouTube
Alice Eldridge, Chris Kiefer and Thor Magnusson: Trio for Two Feedback Cellos and Threnoscope
Charles Roberts : Resting By the Tumtum Tree
Koray Tahiroğlu and Juan Vasquez: NOISA Etude #3
Maria Gioti: Magnetic Fields
Laura Reid/Tom Davis: Gemmeleg
Yemin Oh: Time Discontinuum
Palle Dahlstedt: Living Strings
Wayne Siegel: Ritual
Jonghyun Kim: Vehicle Music
