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"Schedel, Margaret"
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Music to One’s Ears: Familiarity and Music Engagement in People With Parkinson’s Disease
Parkinson's disease (PD) is a complex diagnosis commonly associated with motor dysfunction, but known to comprise cognitive, psychiatric, and mood disturbances as well. Music has been successfully used to address motor and non-motor symptoms of PD. Still, little is known about the nature of an individual with PD's experience and relationship with music on conceptual and emotional levels, which may factor into their engagement in music-based techniques to ameliorate impairments. Two surveys were administered to 19 individuals with PD and 15 individuals without PD in order to gauge their subjective impressions and valuations of music. Participants completed The Brief Music Experience Questionnaire (BMEQ), a standard self-report measure pertaining to the role of music in one's life, prior to performing a perception task which involved listening to and making sound adjustments to three music recordings. Following the perception task, a custom Exit Survey was administered to evaluate the experience of listening to and engaging with the music in the perception task. In all six dimensions of the BMEQ, examining aspects of music experience including commitment to music, self-reported musical aptitude, social uplift, affective reactions, positive psychotropic effects, and reactive musical behavior (RMB, pertaining to actions or behaviors in response to music), the mean and the median were greater for the control group than for the PD group, but the difference was only statistically significant in the RMB dimension. On the Exit Survey, both groups assessed recent, specific, and interactive music listening more positively than the imagined, hypothetical or general music experiences addressed on the BMEQ. Additionally, familiarity had a greater effect on listening pleasure for participants with PD than those without PD. We conclude that people with PD may perceive less of an automatic connection between music and activity than their healthy peers. Additionally, they may receive more pleasure and value from music than they anticipate. Taken together, our results suggest that people with PD may require encouragement to participate as well as empowerment to choose familiar selections in order to better access music-based interventions and the benefits they can offer.
Journal Article
Housework Lock (her) Down
While public policies have made strides in promoting workplace gender equality, women continue to shoulder the majority of unpaid domestic work in opposite-sex households. [...]the outsourcing in affluent households of domestic labor to poorer women of color reinforces domestic labor as women's work while perpetuating class inequality. The Embedded Iron is an Embedded Acoustic Instrument that includes all necessary components for performer interaction, data-mapping, synthesis, and sound generation in a single self-contained body. Because it is not dependent on computers or speakers that are used for other tasks, it gains more agency and identity. P1, P2, P3, P4 (if three players, P1 performs P4's cues) We have condensed the rest of the score for publication in the journal, it followed the same structure as section A. JOCELYN HO's artistic practice involves the exploration of the relationship between sound, bodily gesture, and culture, as well as the rethinking of the classical music genre through multimedia technologies, interdisciplinarity, and audience interactivity.
Journal Article
Notation for an Electric Stage: Twenty Years of Writing about Notation and a Thought Experiment With additional commentary about Preservation
While at SUNY Buffalo studying with Cort Lippe I wrote my first piece for acoustic instrument without electronic sounds, Ov rla s: A Time Canvas (2000) for Lujon8 and Interactive Score, which I described as having «elements [that] appear and disappear on the score as the performer plays. Looking back at my thesis, I could easily recreate this work based on my extensive notes about its history, compositional focus, influences, formal structure, and my performance notes as well as the pages containing (terribly pixelated) screen shots of the whole score and the punched out versions once the algorithm had been running. When Miller Puckette developed his open source language, Pure Data (PD), the original idea was to make a real-time computer music performance environment like Max, but somehow to include also «a facility for making computer music scores with user-specifiable graphical representations»12. In my 2008 article for the International Symposium on Electronic Arts (ISEA) conference \"Sustainability of Performing with Technology\" I first called for \"reperformance\" of works, invoking Bourriaud who argued that artistic form could only be realized from a meeting between two levels of reality-for the homogeneity of a document does not produce art19.
Journal Article
Editorial: Commercial music and the electronic music studio – influence, borrowings and language
The commercial music duo, whose music appeared on the soundtrack of Grand Theft Auto V, convinced IPEM to let them house the institute’s legendary EMS Synthi 100 for a year while the ‘research center in systematic musicology’ underwent restoration. When we consider and document these influences, we draw on a variety of approaches to analysis that layers the semiotics of music in general with elements particular to electronic music that have emerged and developed in parallel within communities producing electroacoustic music, popular music, audio pedagogy and sound design for film, television and games. [...]each audio subfield has its own vocabulary and canonical references, and there are meaningful differences in the underlying conceptualisations and models of sound and technology and their intersections. [...]in film, the approach of trying to create and match elements that more accurately reflect the experience of a listener is of primary concern to the audio specialist (Holman 2010: 58).
Journal Article
Editorial: New Wor(l)ds for Old Sounds
INTRODUCTION The editors’ aim in creating this themed issue of Organised Sound was to explore the resonances between questions raised by electroacoustic specialists and those taken up by scholars who work on the sounds of the pre-electric past.Since 1996, Organised Sound has been the leading journal for the study of electroacoustic music; for this issue we wanted to move beyond the traditional arena covered by ‘EA specialists’ and build a bridge between electroacoustic music studies and sound studies – by now a burgeoning field of inquiry that spans several disciplines, not least musicology and ethnomusicology, music theory and composition, anthropology, and sensory history.[...]as RCA underscored in their advertising campaigns, their Model 104 was the first speaker that could reproduce sound accurately.According to Google’s Ngram viewer, 7 occurrences of ‘loud speaker’ in published articles peaked in 1926; it is worth noting in this regard that Kellogg and Rice used this form in their paper (i.e. ‘hornless loud speaker’), as did Minton in his response.Acknowledgements Special thanks to our brave authors, and to Organised Sound editor-in-chief Leigh Landy, for being willing to experiment with this thematic issue; to Perrin Meyer, of Meyer Sound Laboratories, for clarifying the collaborative dimensions of loudspeaker design; to Geoff Chew, Michael Scott Cuthbert, Lester Hu, Thomas Schmidt, Alexander Rehding, Jason Stoessel, for helping us puzzle through possible translations of Kircher’s Greek-Latin neologism ‘phonurgia’ and to Eric Bianchi (Fordham University) for proposing the most elegant of solutions to Kircher’s linguistic convolutions; to William Ashworth (University of Missouri-Kansas City and Linda Hall Library consultant for the History of Science) for anticipating that an LP with Kepler on the cover and an American Scientist article inside was just the thing a musicologist needed; to our colleague August Sheehy (Stony Brook University, Department of Music) for encouraging us to think about the ‘family resemblances’ between the harmonious universes of Stockhausen and Kepler; and to another colleague, Elyse Graham (Stony Brook University, Department of English), who helped us describe the circuitous linguistic pathways along which the new wor(l)ds – loud speaker, loud-speaker, loudspeaker – that lie at the heart of this issue came to be. 1 The first patent for ‘DeForest Phonofilm’ was filed in 1919.
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