#PLAYGROUND SESSIONS REVIEW HOW TO#
It was noticed that the three built their knowledge independently, exchanging experience among peers, searching for information in cyberspace, on the track (such as a DJ or goer) and making use of manufacturing technologies for learning how to 104 produce. The ethnographic case study was the chosen methodology, where the observation environment is the dance floor and the social network sites are the producers. Around this theme we are looking for to understand how those producers to get the learning process. The Learning Process of Three Electronic Music Producers of Dance Floor Eliza Vazquez This work has focused on understanding the learning process of three producers of electronic dance music, they belong to the underground scene of Brasilia. Results suggest there is a strong potential for the framework for CMLT to positively enhance creative music learning. In the second phase, six middle school students reported increased confidence after using the prototype for four weeks. In the first phase, seven expert music teachers and eight middle school instrumental students participated in user testing, revealing that the prototype effectively engaged users in learning many key objectives of improvisation pedagogy. A two-phased study of middle school instrumentalists and expert teachers examined the effectiveness of the prototype.
#PLAYGROUND SESSIONS REVIEW SOFTWARE#
The software is at once a tool for developing musical understanding and for exploring creative freedom in music. As a result, a prototype application was built for iPad and iPhone based on the principles of the CMLT framework. An examination of existing technologies reveals a lack of available tools for cultivating a creative disposition to musicianship. Theoretical analysis of improvisation pedagogy and technology for learning to improvise provide the foundation for creative experimentation. This dissertation reports a research-creation approach for the development of a framework for Creative Music Learning with Technology (CMLT), which emphasizes a process of learning to interact creatively with music.
If music education is to respond to the skills and needs of 21st-century music learners, innovative learning paradigms must be explored. This work shows how a new interface helps promote the use of heritage instruments and culture. The result of user study shows our design is helpful in providing better learning experience and enhancing performance and memorization with markedly less time spent learning.
We have made three main contributions in this paper: (1) a systematic method to design for instrumental learning combing eastern and western musical concepts (2) a primary validation of the effect of augmented reality in facilitating learning of the Chinese Guqin (3) a natural user interface for the learning system applying gesture detection.
With the goal of providing an easy and effective way of learning Guqin, we have created an interactive learning system called ChinAR which employs augmented reality. However, the complexity of its unique notation and theory has severely limited its popularity in the modern world.
The Guqin, a seven-stringed fretless zither, is the most representative traditional musical instrument in China.
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