The 4E‘s Model of Enactivism through Improvisation within DMIs
Resumo
This paper describes how a theoretical framework focused on the 4E‘s model which describe the mind as fundamentally: embodied, embedded, extended and enactive, within the paradigm of enactive music cognition can contribute to the design of Digital Music Instruments (DMIs). From an epistemological perspective, we discuss improvisation within the Western academic music culture through two examples of DMIs created to improvise in a MIDI keyboard. We argue the 4 E‘s model orientation revealing the fundamentally nature of the embodied musical mind. Ethical and practical possibilities for an enactive music cognition related to improvisation in the context of the skills and needs of 21st are suggested with the goal of helping DMIs designers and musicians to develop approaches based in possibility, imagination, and relationality, rather than in conformity to standardized practices and conventional music pedagogical purposes. Finally, we present some concrete cases of DMIs, and we describe how the experience of musical improvisation with them may be seen through the prism of such theories.
Palavras-chave:
Music Expressiveness, Music Perception, Psychoacoustics, and Cognition, Real-time Interactive Systems
Referências
R. H. Jack, J. Harrison, F. Morreale, A. McPherson. Democratising DMIs: The Relationship of Expertise and Control Intimacy. In: Proceedings of the international conference on New Interfaces for Musical Expression, 2018. NIME’18, June 3-6, 2018, Blacksburg, Virginia, USA.
A. McPherson, F. Morreale & J. Harrison, 2019. Musical Instruments for Novices: Comparing NIME, HCI and Crowdfunding Approaches. Chapter 12. S. Holland et al. (eds.), New Directions in Music and Human-Computer Interaction, Springer Series on Cultural Computing, DOI: 10.1007/978-3-319-92069-6_12
S. L. Khoury. Improvise: Research-Creation of a Framework and Software Prototype for Creative Music Learning with Technology. Ph.D. Thesis, University of Montreal, Quebec, Canada, 2017.
F. J. Varela, E. Thompson, and E. Rosch. The embodied mind: cognitive science and human experience. MIT Press, Cambridge, MA, 1991.
L. Hayes, 2019. Beyond Skill Acquisition: Improvisation, Interdisciplinarity, and Enactive Music Cognition. DOI: 10.1080/07494467.2019.1684059
M. Bordegoni, 2010. Exploitation of Designers and Customers’ Skills and Creativity in Product Design and Engineering. Pages 63-85. In Shuichi Fukuda (ed.). Emotional Engineering: Service Development. Springer. p. 76.
A. Marquez-Borbon. Collaborative Learning with Interactive Music Systems. In Proceedings of the International Conferences on New Interfaces for Musical Expression NIME’20, July 21-25, 2020, Royal Birmingham Conservatoire, Birmingham, United Kingdom, 2020.
D. Van der Schyff. Improvisation, Enaction, and SelfAssessment. Oxford: The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education. Edited by David J. Elliott, Marissa Silverman, and Gary E. McPherson, 2019.
C. Small, (1998). Musicking: The meanings of performing and listening. Middletown, CT: Wesleyan University Press.
J. Gutierrez. An Enactive Approach to Learning Music Theory? Obstacles and Openings. Edited by: Dylan van der Schyff, University of Melbourne, Australia. Frontiers in Education, 2019.
P. S. Campbell. Learning to Improvise Music, Improvising to Learn Music. In Musical improvisation: Art, education, and society Urbana - IL - 119–142, University of Illinois Press, 2009.
É . Jaques-Dalcroze. Rhythm, music and education. New York, NY: G. P. Putnam’s Sons, 1921.
R. K. Sawyer (2000). Improvisation and the creative process: Dewey, Collingwood, and the aesthetics of spontaneity. The Journal of Aesthetics and Art Criticism, 58(2), 149–161.
J. M. Loaiza. Musicking, embodiment and participatory enaction of music: outline and key points. Connection Science, 2016. Volume 28, Issue 4, p.410-422. DOI: 10.1080/09540091.2016.1236366
J. Mingers. The cognitive theories of Maturana and Varela. Systems Practice 4, 319–338, 1991. DOI:10.1007/BF01062008
D. Van der Schyff. Improvisation, Enaction, and Self-Assessment. Oxford: The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education. Edited by David J. Elliott, Marissa Silverman, and Gary E. McPherson, 2019.
C. Leporace, Espelhos do mundo? Uma perspectiva da percepçaõ humana a partir de ideias da mente enativa e da mente estendida. A Mente Humana para Além do Cérebro. Copyright: 2019, Instituto de Psicologia Cognitiva, Desenvolvimento Humano e Social da Universidade de Coimbra, IPCDHSUC.
A. Schiavio, and D. van der Schyff. 2018. “4E Music Pedagogy and the Principles of Self- Organization.” Behavioral Sciences 8 (8): 72. Open Access Journal. Published: 9 August 2018. DOI:10.3390/bs8080072
D. Van der Schyff, A. Schiavio & D. J. Elliott. Critical Ontology for an Enactive Music Pedagogy. Action, Criticism & Theory for Music Education ISSN 1545-4517. Volume 15 Number 5, October 2016. Vincent C. Bates, Editor Brent C. Talbot, Associate Editor
M. Pessoa, C. Parauta, P. Luís, I. Corintha & G. Bernardes. Examining Temporal Trends and Design Goals of Digital Music Instruments for Education in NIME: A Proposed Taxonomy. In: Proceedings of the international conference on New Interfaces for Musical Expression, 2020. Birmingham, UK. NIME’20, July 2125, 2020.
B. Bongers. Exploring Novel Ways of Interaction in Musical Performance. ACM Trans. In CC ’99: Proceedings of the 3rd conference on Creativity cognition, pages 76–81, 1999.
J. Drummond. Understanding Interactive Systems. Organised Sound, 14(2):124–133, 2009, R. Rowe. Interactive music systems: Machine listening and composition. MIT Press, 1993.
T. Magnusson. Musical organics: a heterarchical approach to digital organology. Journal of New Music Research, 46(3):286–303, 2017.
J. C. Schacher. Hybrid Musicianship - Teaching Gestural Interaction with Traditional and Digital Instruments. In: Proceedings of the international conference on New Interfaces for Musical Expression, 2013. NIME’13, May 27 – 30, 2013, KAIST, Daejeon, Korea.
G. Emerson & H. W. Egermann. Exploring the Motivations for Building New Digital Musical Instruments. Musicae scientiae, 2018. ISSN 1029-8649. DOI: 10.1177/1029864918802983
I. Corintha, L. Outeiro, R. Dias, G. Bernardes. AM-IBLUES: An Interactive Digital Music Instrument for Guiding Novice Pianist in the Improvisation of Jazz Melodies. Advances in Design, Music and Arts, Vol. 9, 689-698. Springer, 2020.
M. Rodger, P. Stapleton, M. van Walstijn, M. Ortiz & Laurel Pardue. What Makes a Good Musical Instrument? A Matter of Processes, Ecologies and Specificities. In: Proceedings of the international conference on New Interfaces for Musical Expression, 2020.
G. Rimoldi & J. Manzolli. Enactive Framework for Design of Digital Music Interfaces. In: Proceedings of the 2nd International Conference on New Music Concepts ICNMC, 2016. Corpus ID: 207815887
C. Dobrian and D. Koppelman. The ‘E’ in NIME: Musical Expression with New Computer Interfaces. In: Proceedings of the international conference on New Interfaces for Musical Expression, 2006.
A. Marquez-Borbon & J. P. Martinez Avila. The problem of DMI adoption and longevity: Envisioning a NIME performance pedagogy. In Proceedings of the International Conferences on New Interfaces for Musical Expression (NIME), 2018.
T. Magnusson. An Epistemic Dimension Space for Musical Devices. In: Proceedings of the international conference on New Interfaces for Musical Expression, 2010. NIME2010, June 15-18, 2010, Sydney, Australia.
Birnbaum, D., Fiebrink, R., Malloch, J., and Wanderley, M. Towards a Dimension Space for Musical Artifacts. In NIME 2005 Proceedings. 2005.
D. Van der Schyff, A. Schiavio, A. Walton, V. Velardo & A. Chemero (2018). Musical creativity and the embodied mind: Exploring the possibilities of 4E cognition and dynamical systems theory. Music & Science. Volume 1: 1–18 DOI: 10.1177/2059204318792319
I. Corintha, G. Cabral, G. Bernardes. AMIGO: An Assistive Musical Instrument to Engage, Learn and Create Music. In: Proceedings of the international conference on New Interfaces for Musical Expression, 2019. NIME’19.
Dias. R.: Interfacing Jazz: A Study in ComputerMediated Jazz Music Creation and Performance. Ph.D. Thesis, University of Porto, Portugal, 2018.
A. McPherson, F. Morreale & J. Harrison, 2019. Musical Instruments for Novices: Comparing NIME, HCI and Crowdfunding Approaches. Chapter 12. S. Holland et al. (eds.), New Directions in Music and Human-Computer Interaction, Springer Series on Cultural Computing, DOI: 10.1007/978-3-319-92069-6_12
S. L. Khoury. Improvise: Research-Creation of a Framework and Software Prototype for Creative Music Learning with Technology. Ph.D. Thesis, University of Montreal, Quebec, Canada, 2017.
F. J. Varela, E. Thompson, and E. Rosch. The embodied mind: cognitive science and human experience. MIT Press, Cambridge, MA, 1991.
L. Hayes, 2019. Beyond Skill Acquisition: Improvisation, Interdisciplinarity, and Enactive Music Cognition. DOI: 10.1080/07494467.2019.1684059
M. Bordegoni, 2010. Exploitation of Designers and Customers’ Skills and Creativity in Product Design and Engineering. Pages 63-85. In Shuichi Fukuda (ed.). Emotional Engineering: Service Development. Springer. p. 76.
A. Marquez-Borbon. Collaborative Learning with Interactive Music Systems. In Proceedings of the International Conferences on New Interfaces for Musical Expression NIME’20, July 21-25, 2020, Royal Birmingham Conservatoire, Birmingham, United Kingdom, 2020.
D. Van der Schyff. Improvisation, Enaction, and SelfAssessment. Oxford: The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education. Edited by David J. Elliott, Marissa Silverman, and Gary E. McPherson, 2019.
C. Small, (1998). Musicking: The meanings of performing and listening. Middletown, CT: Wesleyan University Press.
J. Gutierrez. An Enactive Approach to Learning Music Theory? Obstacles and Openings. Edited by: Dylan van der Schyff, University of Melbourne, Australia. Frontiers in Education, 2019.
P. S. Campbell. Learning to Improvise Music, Improvising to Learn Music. In Musical improvisation: Art, education, and society Urbana - IL - 119–142, University of Illinois Press, 2009.
É . Jaques-Dalcroze. Rhythm, music and education. New York, NY: G. P. Putnam’s Sons, 1921.
R. K. Sawyer (2000). Improvisation and the creative process: Dewey, Collingwood, and the aesthetics of spontaneity. The Journal of Aesthetics and Art Criticism, 58(2), 149–161.
J. M. Loaiza. Musicking, embodiment and participatory enaction of music: outline and key points. Connection Science, 2016. Volume 28, Issue 4, p.410-422. DOI: 10.1080/09540091.2016.1236366
J. Mingers. The cognitive theories of Maturana and Varela. Systems Practice 4, 319–338, 1991. DOI:10.1007/BF01062008
D. Van der Schyff. Improvisation, Enaction, and Self-Assessment. Oxford: The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education. Edited by David J. Elliott, Marissa Silverman, and Gary E. McPherson, 2019.
C. Leporace, Espelhos do mundo? Uma perspectiva da percepçaõ humana a partir de ideias da mente enativa e da mente estendida. A Mente Humana para Além do Cérebro. Copyright: 2019, Instituto de Psicologia Cognitiva, Desenvolvimento Humano e Social da Universidade de Coimbra, IPCDHSUC.
A. Schiavio, and D. van der Schyff. 2018. “4E Music Pedagogy and the Principles of Self- Organization.” Behavioral Sciences 8 (8): 72. Open Access Journal. Published: 9 August 2018. DOI:10.3390/bs8080072
D. Van der Schyff, A. Schiavio & D. J. Elliott. Critical Ontology for an Enactive Music Pedagogy. Action, Criticism & Theory for Music Education ISSN 1545-4517. Volume 15 Number 5, October 2016. Vincent C. Bates, Editor Brent C. Talbot, Associate Editor
M. Pessoa, C. Parauta, P. Luís, I. Corintha & G. Bernardes. Examining Temporal Trends and Design Goals of Digital Music Instruments for Education in NIME: A Proposed Taxonomy. In: Proceedings of the international conference on New Interfaces for Musical Expression, 2020. Birmingham, UK. NIME’20, July 2125, 2020.
B. Bongers. Exploring Novel Ways of Interaction in Musical Performance. ACM Trans. In CC ’99: Proceedings of the 3rd conference on Creativity cognition, pages 76–81, 1999.
J. Drummond. Understanding Interactive Systems. Organised Sound, 14(2):124–133, 2009, R. Rowe. Interactive music systems: Machine listening and composition. MIT Press, 1993.
T. Magnusson. Musical organics: a heterarchical approach to digital organology. Journal of New Music Research, 46(3):286–303, 2017.
J. C. Schacher. Hybrid Musicianship - Teaching Gestural Interaction with Traditional and Digital Instruments. In: Proceedings of the international conference on New Interfaces for Musical Expression, 2013. NIME’13, May 27 – 30, 2013, KAIST, Daejeon, Korea.
G. Emerson & H. W. Egermann. Exploring the Motivations for Building New Digital Musical Instruments. Musicae scientiae, 2018. ISSN 1029-8649. DOI: 10.1177/1029864918802983
I. Corintha, L. Outeiro, R. Dias, G. Bernardes. AM-IBLUES: An Interactive Digital Music Instrument for Guiding Novice Pianist in the Improvisation of Jazz Melodies. Advances in Design, Music and Arts, Vol. 9, 689-698. Springer, 2020.
M. Rodger, P. Stapleton, M. van Walstijn, M. Ortiz & Laurel Pardue. What Makes a Good Musical Instrument? A Matter of Processes, Ecologies and Specificities. In: Proceedings of the international conference on New Interfaces for Musical Expression, 2020.
G. Rimoldi & J. Manzolli. Enactive Framework for Design of Digital Music Interfaces. In: Proceedings of the 2nd International Conference on New Music Concepts ICNMC, 2016. Corpus ID: 207815887
C. Dobrian and D. Koppelman. The ‘E’ in NIME: Musical Expression with New Computer Interfaces. In: Proceedings of the international conference on New Interfaces for Musical Expression, 2006.
A. Marquez-Borbon & J. P. Martinez Avila. The problem of DMI adoption and longevity: Envisioning a NIME performance pedagogy. In Proceedings of the International Conferences on New Interfaces for Musical Expression (NIME), 2018.
T. Magnusson. An Epistemic Dimension Space for Musical Devices. In: Proceedings of the international conference on New Interfaces for Musical Expression, 2010. NIME2010, June 15-18, 2010, Sydney, Australia.
Birnbaum, D., Fiebrink, R., Malloch, J., and Wanderley, M. Towards a Dimension Space for Musical Artifacts. In NIME 2005 Proceedings. 2005.
D. Van der Schyff, A. Schiavio, A. Walton, V. Velardo & A. Chemero (2018). Musical creativity and the embodied mind: Exploring the possibilities of 4E cognition and dynamical systems theory. Music & Science. Volume 1: 1–18 DOI: 10.1177/2059204318792319
I. Corintha, G. Cabral, G. Bernardes. AMIGO: An Assistive Musical Instrument to Engage, Learn and Create Music. In: Proceedings of the international conference on New Interfaces for Musical Expression, 2019. NIME’19.
Dias. R.: Interfacing Jazz: A Study in ComputerMediated Jazz Music Creation and Performance. Ph.D. Thesis, University of Porto, Portugal, 2018.
Publicado
24/10/2021
Como Citar
CORINTHA, Isabela; CABRAL, Giordano.
The 4E‘s Model of Enactivism through Improvisation within DMIs. In: SIMPÓSIO BRASILEIRO DE COMPUTAÇÃO MUSICAL (SBCM), 18. , 2021, Recife.
Anais [...].
Porto Alegre: Sociedade Brasileira de Computação,
2021
.
p. 160-165.
DOI: https://doi.org/10.5753/sbcm.2021.19441.
