This thesis contextualises the portfolio of relevant works that Than van Nispen created during the period of his Master of Music studies from 2014 to 2016.The projects described involve interactive live instrumental music, which is the subject of the thesis, and the interactive music is mainly based on video-game music methods. The projects that do not have an interactive system for the music at least have a set of rules for play and interaction for, or with the music.A focus of this Master of Music studies is the exploration of solutions for interactive music, based on game music methods, with the use of traditional music notation.
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What kinds of live music are available to the citizens of the cities of Groningen and Utrecht? That is the main question in two research projects, of which the databases have been made accessible in the Dataverse City Musicscapes (Lelieveldt & Bisschop Boele, 2018). At first sight databases of statistical research offices provide researchers with clear data about the number of venues and concerts and the participation of audiences (Gemeente Utrecht 2017, Van den Broek 2014). When looking closer we find that in these statistics only the regular (and mainly publicly funded) music venues are included. The authors’ projects show that a substantial part (53–60%) of live music concerts take place on non-regular locations, such as cafés, restaurants, clubs, churches, shopping malls and in open air. They developed a research tool to be able to draw a map of the musical landscape of a city (Musicscape). In this article we will reflect on the goals, research methods, datasets and some results from analysing our datasets. We hope this contributes to the discussion with scholars, music producers and policy makers about the added value of the concept of Musicscapes for the understanding of cultural participation, music performing practices and cultural policies.
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This book has been written for musicians who want to engage with audiences beyond the concert hall and other traditional venues. The study is equally worthwhile for conservatoires and music academies aiming to change the increasingly unrealistic goal of training young musicians solely for the stage. When taking the changing music profession and its market opportunities seriously, higher music education institutions can become aware of creative opportunities for establishing professional music practices in areas in society that are remote from concert halls and big festivals, from public media and stardom, and instead look for settings which reach out to various kinds of audiences. This does not mean, of course, that the results presented here wish to diminish the wonderful gift of being an accomplished soloist or chamber musician, but they would like to show that the role of music can be exhaustive, where artistic connection can bring about strong communication between people. Music can make a difference and be deeply influential, especially in social fields of illness and suffering, weakness and depression. ‘Music and dementia’ is the challenging topic of this book. It is not about educational suggestions to care staff to sing well-known children's songs in care homes for residents with dementia, just to lift the mood. Through engaging in music as a participatory process, its goal is to make the person behind the dementia visible again. The project presented in this study not only shows that this idea can be realised for people with dementia and their caregivers, but it has also opened up learning processes for the musicians involved which nobody would have expected before, nurturing their professional lives and development. The project has changed their understanding of the place of music in people’s lives; it has touched their personality and stimulated deep reflections about their identity. This positive effect should benefit young musicians in their music education. However, musicians are not the only target group. The discoveries of the study are also helpful and inspiring for caregivers of people with dementia and for families of a loved one living with dementia. The book explores the interaction between music and dementia through the stories of people who have been working closely together: three musicians, eight women living with dementia, five caregivers, a staff development practitioner, a project coordinator and three scientific observers. The result is a book in which all of them have participated in their own way. It consists of field observations, reflective journals, conversations, interviews and careful scientific analyses. If it can be read by many people at a profit, the project has worked. There will be, in the words of Clifford Geertz, a 'thick description' of a new friendship between music and dementia, a story about a fascinating practice that will stimulate and bolster committed people.
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The objective of DIGIREAL-XL is to build a Research, Development & Innovation (RD&I) Center (SPRONG GROUP, level 4) on Digital Realities (DR) for Societal-Economic Impact. DR are intelligent, interactive, and immersive digital environments that seamlessly integrate Data, Artificial Intelligence/Machine Learning, Modelling-Simulation, and Visualization by using Game and Media Technologies (Game platforms/VR/AR/MR). Examples of these DR disruptive innovations can be seen in many domains, such as in the entertainment and service industries (Digital Humans); in the entertainment, leisure, learning, and culture domain (Virtual Museums and Music festivals) and within the decision making and spatial planning domain (Digital Twins). There are many well-recognized innovations in each of the enabling technologies (Data, AI,V/AR). However, DIGIREAL-XL goes beyond these disconnected state-of-the-art developments and technologies in its focus on DR as an integrated socio-technical concept. This requires pre-commercial, interdisciplinary RD&I, in cross-sectoral and inter-organizational networks. There is a need for integrating theories, methodologies, smart tools, and cross-disciplinary field labs for the effective and efficient design and production of DR. In doing so, DIGIREAL-XL addresses the challenges formulated under the KIA-Enabling Technologies / Key Methodologies for sectoral and societal transformation. BUas (lead partner) and FONTYS built a SPRONG group level 4 based on four pillars: RD&I-Program, Field Labs, Lab-Infrastructure, and Organizational Excellence Program. This provides a solid foundation to initiate and execute challenging, externally funded RD&I projects with partners in SPRONG stage one ('21-'25) and beyond (until' 29). DIGIREAL-XL is organized in a coherent set of Work Packages with clear objectives, tasks, deliverables, and milestones. The SPRONG group is well-positioned within the emerging MINDLABS Interactive Technologies eco-system and strengthens the regional (North-Brabant) digitalization agenda. Field labs on DR work with support and co-funding by many network organizations such as Digishape and Chronosphere and public, private, and societal organizations.
The objective of DIGIREAL-XL is to build a Research, Development & Innovation (RD&I) Center (SPRONG GROUP, level 4) onDigital Realities (DR) for Societal-Economic Impact. DR are intelligent, interactive, and immersive digital environments thatseamlessly integrate Data, Artificial Intelligence/Machine Learning, Modelling-Simulation, and Visualization by using Gameand Media Technologies (Game platforms/VR/AR/MR). Examples of these DR disruptive innovations can be seen in manydomains, such as in the entertainment and service industries (Digital Humans); in the entertainment, leisure, learning, andculture domain (Virtual Museums and Music festivals) and within the decision making and spatial planning domain (DigitalTwins). There are many well-recognized innovations in each of the enabling technologies (Data, AI,V/AR). However, DIGIREAL-XL goes beyond these disconnected state-of-the-art developments and technologies in its focus on DR as an integrated socio-technical concept. This requires pre-commercial, interdisciplinary RD&I, in cross-sectoral andinter-organizational networks. There is a need for integrating theories, methodologies, smart tools, and cross-disciplinaryfield labs for the effective and efficient design and production of DR. In doing so, DIGIREAL-XL addresses the challengesformulated under the KIA-Enabling Technologies / Key Methodologies for sectoral and societal transformation. BUas (lead partner) and FONTYS built a SPRONG group level 4 based on four pillars: RD&I-Program, Field Labs, Lab-Infrastructure, and Organizational Excellence Program. This provides a solid foundation to initiate and execute challenging, externally funded RD&I projects with partners in SPRONG stage one ('21-'25) and beyond (until' 29). DIGIREAL-XL is organized in a coherent set of Work Packages with clear objectives, tasks, deliverables, and milestones. The SPRONG group is well-positioned within the emerging MINDLABS Interactive Technologies eco-system and strengthens the regional (North-Brabant) digitalization agenda. Field labs on DR work with support and co-funding by many network organizations such as Digishape and Chronosphere and public, private, and societal organizations
