LOGIN TO YOUR ACCOUNT

Username
Password
Remember Me
Or use your Academic/Social account:

CREATE AN ACCOUNT

Or use your Academic/Social account:

Congratulations!

You have just completed your registration at OpenAire.

Before you can login to the site, you will need to activate your account. An e-mail will be sent to you with the proper instructions.

Important!

Please note that this site is currently undergoing Beta testing.
Any new content you create is not guaranteed to be present to the final version of the site upon release.

Thank you for your patience,
OpenAire Dev Team.

Close This Message

CREATE AN ACCOUNT

Name:
Username:
Password:
Verify Password:
E-mail:
Verify E-mail:
*All Fields Are Required.
Please Verify You Are Human:
fbtwitterlinkedinvimeoflicker grey 14rssslideshare1
Nash, C. (2016)
Languages: English
Types: Unknown
Subjects:
This paper outlines a workshop to explore intersections of programming and music in digital notation. With the aid of the Manhattan music programming and sequencing environment (Nash, 2014), methods for representing both high-level processes and low-level data constructs in both domains will be explored and debated. The goal of this research is to establish ways of using music concepts to teach programming (and vice versa), working towards digital pedagogies and platforms supporting intrinsic motivation, virtuosity, and auto-didactic learning. \ud The proposed schedule begins with a presentation of findings from studies of both programming and music students, followed by an introduction to the Manhattan software, a sequencer supporting end-user programming (combining declarative and imperative programming idioms) for real-time manipulation of live music notation. The second half of the workshop invites participants to explore concepts in, and overlaps between, programming and music using the software (provided). Beginning with simple structured exercises and examples, the activities will proceed to freer exploratory design and experimentation, drawing on the participants’ backgrounds in music and programming. The workshop concludes with a discussion of conclusions and future directions for research.
  • The results below are discovered through our pilot algorithms. Let us know how we are doing!

    • [1] L. Church, C. Nash, and A. F. Blackwell, “Liveness in notation use: From music to programming,” 22, 2010, Proceedings of PPIG 2010, 2010, pp. 2-11.
    • [2] M.A. Collins and T.M. Amabile. “Motivation and creativity,” in Handbook of Creativity (ed. R.J. Sternberg). Cambridge, UK: Cambridge University Press, 1999, pp. 297-312.
    • [3] L. Scripp, J. Meyaard, and L. Davidson. “Discerning Musical Development: Using Computers to Discover What We Know,” in J. of Aesthetic Education, vol. 22, no. 1, Uni. of Illinois Press, 1988, pp. 75-88.
    • [4] H. Taube and A. Burnson, “Software to Teach Music Theory”, in Proceedings of the ICMC 2009, Montreal, Canada Aug. 16-21, 2009.
    • [5] J. Maloney, M. Resnick, N. Rusk, B. Silverman, and E. Eastmond. “The Scratch Programming Language and Environment,” in ACM Trans. Comput. Educ., vol. 10, no. 4, November 2010, pp. 16:1-16:15.
    • [6] S. Aaron, A.F. Blackwell, and P. Burnard. “The development of Sonic Pi and its use in educational partnerships: co-creating pedagogies for learning computer programming”, in Live Coding in Music Education: Special Issue of The Journal of Music Technology and Education, 2016 (in press).
    • [7] N. Brown, S. Sentance, T. Crick, and S. Humphreys. “Restart: The Resurgence of Computer Science in UK Schools,” in ACM Trans. Comput. Educ., vol. 1, no. 1 (January 2013), 2013, pp. 1:1-1:22.
    • [8] A. Forte "Programming for communication: Overcoming motivational barriers to computation for all", in Human Centric Computing Languages and Environments, 2003, pp. 285-286.
    • [9] C. Nash, and A. Blackwell, “Liveness and flow in notation use,” Proc. of NIME 2012, 2012, pp. 28-33.
    • [10] S.L. Tanimoto, “VIVA: A visual language for image processing,” in Journal of Visual Languages & Computing, vol.1, no.2, Elsevier, 1990, pp. 127-139.
    • [11] C. Nash, “Manhattan: End-User Programming for Music,” Proc. of NIME 2014, 2014, pp. 28-33.
    • [12] J.F. Pane and B.A. Myers. Usability Issues in the Design of Novice Programming Systems. Carnegie Mellon University, Technical Report CMU-CS-96- 132, 1995.
    • [13] M. Zyda. "From visual simulation to virtual reality to games," Computer, vol.38, no.9, 2005, pp. 25-32.
    • [14] C. Nash, and A. Blackwell, “Tracking virtuosity and flow in computer music,” Proc. of ICMC 2011, 2011, pp. 572-582.
    • [15] C. Nash, “The Cognitive Dimensions of Muisc Notations,” in Proc. of TENOR 2015, Paris, 2015.
  • No related research data.
  • No similar publications.

Share - Bookmark

Download from

Cite this article