Title:	TEACHING METHODS FOR SHARING THE CREATION OF ELECTROACOUSTIC MUSIC WITH INEXPERIENCED PEOPLE
Author(s):	Miki Matsumoto, Takumi Mashita, Soma Arai, Hidefumi Ohmura, Hiroyuki Yaguchi and Takuro Shibayama
ISBN:	978-989-8704-49-8
Editors:	Katherine Blashki, Yingcai Xiao, Piet Kommers and Pedro Isaías
Year:	2023
Edition:	Single
Keywords:	Computer Music, Electroacoustic Music, Educational Method, Pedagogy
Type:	Full
First Page:	213
Last Page:	220
Language:	English
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Full Contents:	click to dowload
Paper Abstract:	Our lab holds a workshop using computers to create electroacoustic music (EAM) for a variety of inexperienced people. Since EAM is positioned as an extension of contemporary music, which has a large philosophical component, it has not gained as many creators and listeners as popular music. The reason for this may be that, compared to music meant for entertainment, both the structure in music theory and the concepts in expressive practice create the impression among many people that EAMis difficult to understand. However, we observed that numerous people enjoy creating EAMin workshops. This may be because EAM is created not by following the rules of ordinary music theory, but by producing a montage of sound materials formed from fragments of recorded sounds along a computer timeline, allowing the listener to hear a near-perfect acoustic representation in real time through intuitive manipulation. Through our creative method, we taught participants to capture their impressions of fragmented acoustic materials using metaphorical adjective pairs such as 'high-low' and 'hard-soft' and to maintain the intensity of the contrast between them. This study is based on an analysis of the works created in university courses that share the same teaching techniques as our workshops. The analytical procedure of the present study was as follows: (1) We selected an 'excellent' completed piece of music. (2) We individually extracted the acoustic materials that made up the piece. (3) We used pairwise comparison to examine the participants' impressions of all acoustic materials used in the given piece. (4) We carried out an analysis to determine whether the original piece maintained a high degree of contrast in the impression of the acoustic materials, thereby validating our instructional technique, which we empirically derived from past workshops.
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