AI tools increasingly shape how we discover, make and experience music. While these tools can have the potential to empower creativity, they may fundamentally redefine relationships between stakeholders, to the benefit of some and the detriment of others. In this position paper, we argue that these tools will fundamentally reshape our music culture, with profound effects (for better and for worse) on creators, consumers and the commercial enterprises that often connect them. By paying careful attention to emerging Music AI technologies and developments in other creative domains and understanding the implications, people working in this space could decrease the possible negative impacts on the practice, consumption and meaning of music. Given that many of these technologies are already available, there is some urgency in conducting analyses of these technologies now. It is important that people developing and working with these tools address these issues now to help guide their evolution to be equitable and empower creativity. We identify some potential risks and opportunities associated with existing and forthcoming AI tools for music, though more work is needed to identify concrete actions which leverage the opportunities while mitigating risks.
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BackgroundThe importance of learning to create an expressive performance is a consistently discussed topic in music education. However, how musicians develop “expressiveness” is still understudied. Recent investigations have shown that musicians’ motor behavior is a significant source of perceptual information during performances (Davidson, 2007), as it helps audiences differentiate musicians’ expressive intentions and it often serves as aperformance quality indicator (Waddell & Williamon, 2017). Nevertheless, most current teaching approaches in Higher Music Education focus mainly on acoustic characteristics of performance, and they lack clear goals and systematic teaching patterns (Karlsson & Juslin, 2008; Meissner, 2021).For centuries, some of the most influential theater methods have used physical exploration (motion) to stimulate imagination and create affective states (emotions) in actors. These approaches are rooted in embodied cognition theories, which claim that physical experience shapes conceptual thought, and this is contingent upon the body’s interactions with its environments (Kemp, 2012). Drawing inspiration from theater practices, the method “Frommotion to emotion” for enhancing expressiveness was developed by this author, using improvisational theater as a basis.AimsThis workshop is designed to acquaint participants with the method. We will share insights and reflections from previous participants to demonstrate its effects and will foster discussion around teaching approaches. Short outline of the activities to be undertaken by the presenters/audienceAfter an oral introduction to improvisational theater, participants will engage in practical exercises to experience it firsthand, exploring how to acquire a “physical vocabulary” applicable to music performance. Participants will be encouraged to share their experiences during debrief moments. This workshop is accessible to individuals with no previous theater experience. The total duration would be 90 minutes.Implications for practiceThis contribution emphasizes the importance of integrating visual characteristics of performance in teaching approaches, increasing musicians’ body awareness, and strengthening body-mind connection. These efforts can positively impact individuals’ development, enabling them to create convincing performances while boosting self-confidence.Specific value of the workshop for the conferenceThis method merges embodied cognition theories with theater techniques to innovate educational approaches to expressiveness, making it relevant for musicians wanting to enhance this skill, music educators aiming to teach it, and experts from the field of psychology interested in how it develops.
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Abstract The emergence of new technologies such as mp3 and music streaming, and the accompanying digital transformation of the music industry, have led to the shift and change of the entire music industry’s value chain. While music is increasingly being consumed through digital channels, the number of empirical studies, particularly in the field of music copyright in the digital music industry, is limited. Every year, rightsholders of musical works, valued 2.5 billion dollars, remain unknown. The objectives of this study are twofold: First to understand and describe the structure and process of the Dutch music copyright system including the most relevant actors within the system and their relations. Second to apply evolutionary economics approach and Values Sensitive Design method within the context of music copyright through positive-empirical perspective. For studies of technological change in existing markets, the evolutionary economics literature provides a coherent and evidence-based foundation. The actors are generally perceived as being different, for example with regard to their access to information, their ability to handle information, their capital and knowledge base (asymmetric information). Also their norms, values and roles can differ. Based on an analysis of documents and held expert interviews, we find that the collection and distribution of the music copyright money is still based on obsolete laws, neoclassical paradigm and legacy IT-system. Finally, we conclude that the rightsholders are heterogenous and have asymmetrical information and negotiating power. The outcomes of this study contribute to create a better understanding of impact of digitization of music copyright industry and empower the stakeholders to proceed from a more informed perspective on redesigning and applying the future music copyright system and pre-digital norms and values amongst actors.
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expressiveness, performance, musicians, skills, educationUsing the genre of Improvisational theatre as a basis, my research aims to design and develop instructional strategies that would help students enhance their expressive skills and achieve the flexibility to adapt their motor behavior to the musical piece. Embodying diverse characters and physicalities, as well as affective states or fictional realities through improv theatre exercises should enable them to expand their expressive range and, therefore, better convey their interpretation to their audience. Through this process, this study also seeks to gain an understanding of the effect this type of training may have on musicians' performance experience, as well as its implications in other areas of their development.
