Upload
motje-wolf
View
148
Download
0
Embed Size (px)
Citation preview
EARS II
04/15/2023
From Hearing to Listening. A new Approach to Electroacoustic
Music.
Motje Wolf
Overview
• Introduction• EARS II curriculum• Theoretical foundation• Some impressions
04/15/2023 Motje Wolf
04/15/2023 Motje Wolf
Imagine...you stepped into a new world. Houses would not look like houses, streets not like streets...
... there would be sign posts, but you wouldn’t understand the language. You probably would feel very confused.
... This is probably the same when someone goes to an acousmatic concert for the first time. No musicians, only loudspeakers and sounds that you normally would not consider as music.
04/15/2023 Motje Wolf
Reaction to electroacoustic music
can hence be like this:
04/15/2023 Motje Wolf
• Something that would help us to orientate within the new world:– Language course– Map
• So – why don’t we do this with new listeners?
The EARS II learning environment
Offers inexperienced listeners knowledge (map) and a listening training (language course) for electroacoustic music.
04/15/2023 Motje Wolf
EARS II Curriculum
• For inexperienced listeners (11-14 years old)
• Enhance appreciation of e/a music• Learning, Listening and Making• Concept-driven Teaching• Technology Enhanced Teaching +
e-Learning• Listening Training
04/15/2023 Motje Wolf
Aims
• Intention/Reception (Weale 2006) project shows: Better access due to understanding of composer’s intention
• Therefore: providing children knowledge about electroacoustic music is a way to achieve this goal
• Aim: To fill the gap between society and contemporary music
• Including teaching e/a music in holistic approach with a lot of fun.
04/15/2023 Motje Wolf
Appreciation
• Aesthetic appreciation: musical preference• Influence Factors
• Age (Open-Earedness Hypothesis)• Knowledge• Attitude• ...
• “Seeing the value of something”• National Curriculum: appreciation of unfamiliar
music• But HOW?
04/15/2023 Motje Wolf
Something to hold on to
• some parameters: e.g., dynamics, space, pitch, and/or rhythm
• Homogeneity of sounds and the search for few sounds, e.g. pieces based on one or a few pitches, homogenous textures, new sounds, and the voice and the special case of a live instrument plus recorded sounds
• Textures not exceeding four sound types at once;• Programs, some are real but many are imaginary, e.g.,
natures, recycled music and “anecdotal music”, and acousmatic tales; and
• others not yet discovered (Landy 2007, 28)04/15/2023 Motje Wolf
Sound ≠ Sound
• Real-World Sound vs. Generated Sound
• Focusing on Real-World Sounds:Soundscape and Musique Concrète
• Two types of listening:
• Referential listening: sound + sound source
• Reduced listening: sound – sound source
04/15/2023 Motje Wolf
How to Learn on EARSII
• Curriculum• Learning in two ways:– Single-user option – at home (e-learning)– Multi-user option – at school (technology
enhanced learning)• Learning, listening and making• Including tasks and quizzes
04/15/2023 Motje Wolf
How to Learn on EARSII
• Sparking and retaining interest• Sit forward/ sit backward media (Laurillard)General approach:– Exploring rather than consuming
Classroom version:– Teachers can pre-define the content and
monitor the learners’ actions– Can follow the lesson plans of the curriculum
04/15/2023 Motje Wolf
04/15/2023 Motje Wolf
Have a look:
www.dirbtuve.de/ears
Prototype of the final EARS2 Online Learning Environment of the Music, Technology and Innovation Research Centre of De Montfort University Leicester. Created by Motje Wolf with technical support by Nils Müller as part of Wolf’s PhD project
Contact: [email protected]