Music & movement

Chuangzuo has emerged as a music trend through a music movement, and as a popular culture for youth in Malaysia, but the music of chuangzuo have not been described to the general public that is probably not aware of the identity in chuangzuo, the social aspects of chuangzuo as in a gongzuofang, and also how the music has sustained so far.

The primary objective of this study is to determine the identity and the sustainability of chuangzuo activities in Malaysia. The specific objectives are to produce a description on the settings of gongzuofang in Penang, an analysis of musical materials of chuangzuo, and a clarification of the identity and sustainability of chuangzuo based on the former two specific objectives.

Observation through fieldwork is rendered for this ethnographic research. The primary setting is gongzuofang in Penang, namely the Wanderers and CZMusic which have been actively involved in chuangzuo activities. Observation, interviews and video recordings of important rehearsals and actual performance were rendered. The secondary setting of the fieldwork is based on related song-writing competitions, concerts and music camp, which were held in Penang and Kuala Lumpur.

The general phenomenon of chuangzuo depicts a scene where youth perform their own music compositions with guitars or light instruments. Chuangzuo is a music activity for the youth in Malaysia, as the music, mainly performed in Chinese, often depicts the youth’s life-cycle events. The music is commonly composed in the sentimental style or of a ballad that usually adopts a major key and the common simple quadruple time. Instrumentation is usually simple, and Chinese texts with rhymes are used. Though mixed language and vocables are included sometimes, the texts are commonly written in the discursive style.

A gongzuofang is the basic unit of chuangzuo that accommodates youth’s music activities. It exists as an important space for music practice, music learning, idea sharing, planning, music presentation, socialisation, and also life-cycle events. The studied gongzuofang represents a typical organisation that provides its members with abundant opportunities in music compositions, as members learn to compose, perform, compete in music contests and produce music concerts or music recording.

Chuangzuo is an opportunity for youth to engage with music. They usually adopt elements of cultural fusion in their compositions, and they show amateurish characteristics in their music. This has formed the musical identity of chuangzuo. The social identity of chuangzuo is built through identity construction, individuality, communion formation and aspiration. Nevertheless, the need to survive changes for the long term has triggered the implementation of sustainability in the handling of chuangzuo. The sustainable ways, as observed, are organisation, commercialisation, hegemony and exclusion of certain music genres.

This paper compares the use of two different technologies for controlling sound synthesis in real time: the infrared marker-based motion capture system OptiTrack and Xsens MVN, an inertial sensor-based motion capture suit. We present various quantitative comparisons between the data from the two systems and results from an experiment where a musician performed simple musical tasks with the two systems. Both systems are found to have their strengths and weaknesses, which we will present and discuss.

Resumo: Nesse artigo serão abordadas quatro possíveis feições para a relação entre música e movimento que mobilizam conceitos e pressupostos das metáforas conceituais e dos esquemas imagéticos baseados na experiência corporal. As principais elocuções sobre do tema serão tecidas a partir de uma literatura emergente que aplica a noção de esquemas imagéticos, as metáforas conceituais, investigações oriundas das neurociências e mecanismos da memória para possibilitar insights e desdobramentos nas práticas musicais. O contexto de música e movimento permite descortinar estratégias de entendimento musical, além de oferecer um rico campo para experimentações no domínio da criação. Nesse sentido, nossa pesquisa de doutorado (no PPGMUS/UFBA) abordou a relação entre música e movimento no contexto da Capoeira Regional, onde não há a separação conceitual entre os domínios. Essa interação foi operacionalizada a partir da inferência em campo de quatro conceitos que mobilizam a relação entre música e movimento para a composição musical: ciclicidade, incisividade, circularidade e surpreendibilidade. Palavras-chave: Movimento em música, metáforas conceituais, esquemas imagéticos Dynamics of experience: approaches for the music-motion relationship Abstract: In this paper we will approach four views for the relationship between music and movement whose concepts and assumptions derived from conceptual metaphors and image schemata based upon body experience. We will discuss the subject related to emergent literature which offers interesting insights and developments for music studies through the notions of image schemata, conceptual metaphor, neuroscience researches and memory mechanisms. The context of music and movement allows us to reveal strategies of musical understanding and represents a rich field for experiments in music creation. Indeed, our PhD research (at PPGMUS/UFBA) focused upon the relationship between music and

O Sistema Laban/Bartenieff vem se mostrando como um campo fértil para pesquisas no domínio da música há pelo menos quinze anos. Trabalhos recentes têm aplicado seus pressupostos para a pesquisa em diversos aspectos do saber musical, tais como interpretaçãoespecialmente regência -e composição. Este artigo apresenta algumas idéias básicas sobre este sistema e suas possibilidades de aplicação em música.

Cognitive decline produced by the passage of time is an aspect that the most part of society has resigned to happen, and many times we have not taken care of needs that this group could demand. Hence, through this research we propose an alternative based on life-long education for the improvement of life quality and wellness of this part of society, which is increasing due to population ageing that is currently taking place in Spain. The purpose of the research is to obtain the motor, state of mind, physical state and social state perceptions of the participants in program based on cognitive stimulation through music, body movement and teaching of body percussion – BAPNE Method which took place during the academic year 2013-2014 at the University of Alicante. The activities combine rhythm, melody, language and body movement to have a complete stimulation of all brain lobes, based on Howard Gardner’s Theory of Multiple Intelligences, and the work of the different biomechanical planes (sagittal, frontal and horizontal). The methodology’s working procedure allows a spacial layout of participants where teamwork is encouraged. This is carried out thanks to the group’s distribution in pairs or concentric circles. The method for the analysed data processing within the qualitative paradigm has been accomplished through semi-structured interviews to the program’s participants, and questions have been validated by experts.

Esse artigo aborda a noção de ciclo em música baseada na pesquisa sobre a relação entre música e movimento na Capoeira Regional. Propomos uma acepção para o conceito, abordamos o ciclo na composição, algumas assertivas na teoria neo-riemanniana e aplicações em exemplos de composição.

This study examined the effects of variations in background music upon walking behaviour. Participants walked a set distance while listening to background music that was systematically varied in terms of: tempo, loudness, and jitter. Data about participants' average walking speed, step rate and stride length were collected via a pedometer, in addition to self-reported measures of arousal state and liking of the musical stimuli. The results showed a significant increase in both walking speed and step rate when participants listened to faster music, as well as an interaction between tempo and jitter. Stride length however, was primarily affected by loudness. The results are interpreted within an integrated framework based on arousal and entrainment theories of musical-motor interaction.

Ao se pensar/fazer música com o computador, deparamo-nos com um conceito amplamente aplicado em áreas distintas do saber, tais como engenharias, ciência da computação, entre outras, a saber, o tempo real. Uma definição suficientemente satisfatória para o nosso escopo é a de Dodge e Jersey: "When the calculation rate equals the sampling rate, a computer synthesizer is said to operate in 'real time'. Without real-time operation, a computer music system cannot be used for live performance. For the musician, real-time operation is preferable because it drastically reduces the amount of time between instructing the computer and hearing the results (feedback time)" (Dodge; Jerse 1997, p. 70) 2 .

The Chuangzuo Movement in 1987 embarked a huge trend of chuangzuo in the country. Young people are affected with their fascination in music, and thus they enrol a gongzuofang where companions and music resources available for the pursuit in music composition [chuangzuo]. Most of the young people are self-learners, although only a few attain fair background in musical training. Meanwhile, a gongzuofang plays a significant role in providing an exclusive space for young people to construct a sense ofbeing young, being different and belonging.

Música, composição, dança, Sistema Laban/Bartenieff SUMÁRIO Este artigo apresenta possibilidades de relação dialógica entre a música e o movimento, a partir de aspectos analisados pelo Sistema Laban/Bartenieff. Após uma breve introdução e uma contextualização da composição de música para dança, relataremos algumas conexões sistemáticas mobilizadas para a composição da obra Noite, resultado da pesquisa em nível de mestrado pela Universidade Federal da Bahia. Desdobramentos e o estado atual da pesquisa, agora em nível de doutorado, serão descritos também.

Resumo: Esse artigo aborda a noção de Incisividade para a composição, formulando, relacionando com a literatura e exemplificando aplicações em excertos de obras musicais. Esse conceito representa um possível viés para a ideia de movimento em música e sua articulação no compor. Essas possíveis abordagens para a relação entre música e movimento conformam um arcabouço conceitual, possibilitado pela imersão no contexto da Capoeira Regional, um universo onde não existe a separação conceitual entre música e movimento, e que se mostrou um rico campo de possibilidades para o compor. As noções do arcabouço conceitual, Ciclicidade, Incisividade, Circularidade e Surpreendibilidade, não são mutuamente excludentes.

Este artigo propõe um relato sobre a investigação de algumas possibilidades de relação dialógica entre a composição musical (e alguns de seus sistemas) e o movimento dançado (a partir de noções abordadas pelo Sistema Laban), aplicadas na criação de uma obra interdisciplinar, como resultado da pesquisa noâmbito do Mestrado no Programa de Pós-Graduação em Música da Universidade Federal da Bahia.

Song-writing competitions are only apart of 'chuangzuo' cultural form, in which youths seek after identity construction, and also a settlement for their enthusiasm in their engagement in 'chuangzuo'. It is undeniable that they are keen on the pursuit of music cultivation with the approach in their engagement. On the other hand, they manifest a language of 'transnational culture', which is believed to grow in many parts of the world.

In this paper we present a method for studying relationships between features of sound and features of movement. The method has been tested by carrying out an experiment with people moving an object in space along with short sounds. 3D position data of the object was recorded and several features were calculated from each of the recordings. These features were provided as input to a classifier which was able to classify the recorded actions satisfactorily, particularly when taking into account that the only link between the actions performed by the different subjects was the sound they heard while making the action.

This paper investigates differences in the gestures people relate to pitched and non-pitched sounds respectively. An experiment has been carried out where participants were asked to move a rod in the air, pretending that moving it would create the sound they heard. By applying and interpreting the results from Canonical Correlation Analysis we are able to determine both simple and more complex correspondences between features of motion and features of sound in our data set. Particularly, the presence of a distinct pitch seems to influence how people relate gesture to sound. This identification of salient relationships between sounds and gestures contributes as a multi-modal approach to music information retrieval.