| description |
|---|
June 13th (14:00-17:00 UTC-7 | 22:00-1:00 UTC+1) June 14th (5:00-8:00 UTC+8) |
In NIME 2018, Marquez-Borbon and Martinez Avila proposed a NIME performance pedagogy envisioning a holistic digital musical instrument (DMI) design approach which takes into account the ecosystemic aspects of communities of practice and the improvisatory and exploratory aspects of non-traditional pedagogical methods, in order to address the problem of DMI adoption and longevity [1]. As recently discussed within NIME, there is a need for developing pedagogies, repertoire, and critical discourse which attends to the long-term needs for sustaining prolonged musical practice within a performance community (for example [2, 3]).
This online workshop aims to start a conversation with members of the NIME community on how we may implement such pedagogies of performance practices with DMIs, by critically addressing existing epistemological and practical issues in NIME pedagogies, as well as by sharing and discussing existing pedagogical approaches among DMI designers, performers, practitioners, and pedagogues in the community. We also aim to ideate and generate new strategies together.
We are particularly interested in the implementation of non-traditional teaching strategies that formally structure both a non-hierarchical learning environment and non-prescriptive learning tasks in order to foster enactive and embodied learning processes, but we are open to discussing other pedagogical views in order to discuss, contrast and reflect on different ideas, strategies and approaches.
Hence, we encourage participants to submit proposals for short presentations on their pedagogical approaches to teaching performance with DMIs, or to share their experiences developing performative techniques for their instrument, as well as their approaches for collaborative and improvisational practices with them, such as by engaging in jam sessions, developing notation or documenting their processes.
They may do so by showcasing their own DMIs or describing their experience practicing to perform with other people’s DMIs. Although it will not be compulsory to prepare a presentation or bring an instrument to attend to the workshop we expect that participants come prepared with ideas that they would like to discuss as well as to have previous experience as performers and designers of DMIs, or who teach others how to perform and design DMIs.
| Table 1 | ||
|---|---|---|
| Activity | Description | Time |
| Introduction |
-Welcome and organisers introductions by organisers and participants. -Briefing of the workshop (aims and expected outcomes) -We will give a short presentation of our NIME Performance Pedagogy proposal and address existing epistemological and practical issues in NIME pedagogies, as well as some strategies that we have in mind, such as documenting and open sourcing our processes. |
40 mins |
| Lightning talks, showcases and discussion | -Participants will have an hour to present and share their pedagogical approaches, experiences, and techniques, with or without a DMI to showcase. | 60 mins |
| Breakout rooms | -Participants will break into separate rooms to discuss ideas and make collaborative notes whilst the organisers moderate the rooms. | 30 mins |
| Plenary discussion | Each group presents their ideas to the whole group. | 30 mins |
| Wrap up | Closing remarks. Establishing a network, and proposing future actions. | 20 mins |
Adnan Marquez-Borbon, Universidad Autónoma de Baja California Adnan is a full-time professor at the Autonomous University of Baja California, Mexico. He holds a PhD in Sonic Arts from the Sonic Arts Research Centre, Queen’s University Belfast. He was a research fellow in the interdisciplinary project, “Into the Key of Law: Transposing Musical Improvisation. The Case of Child Protection in Northern Ireland.” His research mainly focuses on the development of skill and learning with DMIs. His creative work lies within improvisational practices and musical technologies.
https://adnanmarquezborbon.wordpress.com/
Juan P. Martinez Avila, The University of Nottingham
Juan is a Computer Science PhD candidate at the Mixed Reality Laboratory in the University of Nottingham. He is a diversity officer for NIME. His work addresses how guitars can be augmented to support performance preparation. His research interests include ethnographic studies, value-based design, soma design and e-textiles. Juan’s research has been published at NIME, CHI and Audio Mostly, and it has received a honourable mention award at CHI 2019.
https://zavilaz.wordpress.com/
Mauricio Prieto Astudillo, Universidad Autónoma de Baja California Violist and musical educator, Mauricio has a Bachelor’s degree in music performance from the Autonomous University of Baja California. He holds a Master's degree in Educational Research from the Institute for Educational Research and Development of the Universidad Autónoma de Baja California, as well as a Postgraduate Specialization in Cultural Policies and Cultural Management degree from the Universidad Autónoma Metropolitana. He is currently studying a Ph.D. in Social Business, researching on cultural capital, public formation, artistic education, and public policy. Mauricio has a chapter published in the book “Prácticas de investigación aplicadas a contextos educativos” and has presented in the Conference of Education and Music Research. Mauricio has taught at the Tijuana Musical Arts Center, the National System for Musical Promotion and the Tijuana Youth Symphony. In the latter, he was the founder and director of the String Orchestra and also created the study programs and specialization courses. He is currently a professor of music pedagogy at the Faculty of Arts of the Universidad Autónoma de Baja California, where he collaborates in the research and design of educational programs.
Lauren Hayes, Arizona State University
Lauren Sarah Hayes is a Scottish musician and sound artist who builds and performs with hybrid analogue/digital instruments. She is a “positively ferocious improvisor” (Cycling ‘74), her music refusing to sit nicely between free improv, experimental pop, techno, and noise. Over the last decade she has developed and honed a deliberately challenging and unpredictable performance system that explores the relationships between bodies, sound, environments, and technology. The Wire described her most recent album MANIPULATION (pan y rosas discos) as “skittering melodies and clip-clopping rhythms suggesting a mischievous intelligence emerging from this web of wires”. She is a member of the New BBC Radiophonic Workshop.
https://www.laurensarahhayes.com/
- Marquez-Borbon, A. and Martinez Avila, J.P. 2018. The problem of DMI adoption and longevity: Envisioning a NIME performance pedagogy.
- Hayes, L. 2017. Sound, electronics, and music: A radical and hopeful experiment in early music education. Computer Music Journal 41, 3, 36–49.
- Marquez-Borbon, A. (2020). Collaborative Learning with Interactive Music Systems. In Proc. NIME ‘20.