2017-08, Hug, Daniel, Petralito, Serge, Hauser, Sarah, Lamprou, Anna, Repenning, Alexander, Bertschinger, Didier, Stüber, Nadine, Cslovjecsek, Markus, Petralito, Serge

Motivated by the essential role of music in children’s lives, the potential of sound as sensory modality, and the importance of teaching Computational Thinking, there is great pedagogical potential in the integration of musical and computational thinking into “Computational Music Thinking”. In this paper we report a pilot study exploring research and design approaches in creating learning environments and tools, which stimulate the interest of children and adolescents for both computer science and music in a sustainable way in the context of creative, self-guided activities. For the purposes of the study, two online tools, AgentCubes online, a 3D game design environment, and Ludosonica, an interactive music composition and performance system, were employed in a series of workshops designed for primary and secondary school children. Results from the study generally con rm the pedagogical potential of Computational Music Thinking and point toward promising future research directions.

2015-11, Hug, Daniel, Seibert, Gabriela, Cslovjecsek, Markus, Kalliris, George

In this paper we present a design method that integrates the exploration of visual representations and musical expertise in the process of creating a swimming sonification, and initial results of the method’s application in an explorative study. Our focus lies on the creation of a sonic representation that facilitates the affective, intuitive reproduction of the crawl swim movement. The method integrates artistic creativity and a systematic design process. By combining the linguistic-conceptual, visual and auditory representation of the (imagined) movement, we aim to advance the expressive quality of the sonic representation as well as the design method in a crossmodal, holistic way. Finally we report on a qualitative evaluation of the potential of this approach to support the affective, intuitive re-enactment of the swimming movement.

2013-04-01T00:00:00Z, Hug, Daniel, Cslovjecsek, Markus, Kristiansen, Per Magnus, Lüscher, Beat, Naef, Gregor

2009-05-01T00:00:00Z, Hug, Daniel

2016-07, Hug, Daniel, Stüber, Nadine, Repenning, Alexander, Cslovjecsek, Markus, Hauser, Sarah, Agotai, Doris, Miyazaki, Shintaro, Escherle, Nora, Assaf, Dorit, Woodward, Sheila

Computers have not only changed the way we live and work, but also how we create and consume music. Music software and apps are nowadays widespread in music education (Bauer, 2014). But the potential of the computer as actual musical „computing device“ is rarely exploited. In the area of computer science education the need to approach programming as creative and playful activity has been acknowledged since several years (Repenning et al., 2015). „Computational thinking“, as approach to problem solving that can be executed by both humans and computers (Wing, 2006), is being fostered in schools in the context of STEM (Science, Technology, Engineering, Math) education. And it is increasingly acknowledged that the notion of STEM should be extended to „STEAM“, the "A" standing for "the Arts", in order to foster transdisciplinary, holistic and innovative thinking. The use of algorithms and computing machinery has a long tradition in music, from the “musical dice games” to musical automatons and the computer music of the 20th century. Learning procedural and time-based concepts such as rhythm, melody and polyphony involves some kind of computational music thinking. Algorithmic composition offers children many opportunities to develop their own understanding of "musicality" from an inside perspective, by defining their own rules for generating "organized sound", and by understanding the "rules" and structures underlying various musical phenomena, practices and cultures. Recent works have demonstrated approaches to implement computational principles in classroom or workshop settings (Greher & Heines, 2014; Burnard et al., 2014). Therefore, we see great pedagogical potential in the integration of musical and computational thinking to “Computational Music Thinking”, which we would like to share and discuss with the community.

2015-04, Hug, Daniel, Cslovjecsek, Markus, Hennessy, Sarah

Over the last years, smartphones and tablets have become attractive and ubiquitous platforms for sound and music applications, popularizing new ways of creating and manipulating digital sound. According to Krebs, founder and director of the DigiEnsemble Berlin, music apps offer people with little or no musical education access to new means of musical activity and sonic expression (Krebs 2014). This development has an impact on how music making is conceptualized and practiced and thus is relevant for music education. As practitioners increasingly incorporate multitouch tablets in their educational practice (see, e.g., Riley 2013, Krebs 2014), a critical and practice based pedagogical discourse regarding the use of these technologies is necessary, in order to allow the “reflective practitioner” to develop a systematic understanding of the diverse application and interface concepts, which can be seen as embodiments of musical concepts and ideologies. Furthermore, it can inform the design of applications for a pedagogy of listening and music/sound making, that truly leverage the potential of new technologies and meet the quality standards of music education.

2013-02-01T00:00:00Z, Hug, Daniel

2016, Hug, Daniel, Kemper, Moritz, Panitz, Kathleen, Franinovic, Karmen, Fagerlönn, Johan

Physical contexts, artifacts and materials have a big influence on the way children are enabled and encouraged in their play activities, especially in playgrounds. Designers and educators focus on formal and visual qualities of the playground, neglecting the potential of sound. Although sonic activities are common everyday phenomena in playgrounds and take an important role in children’s development, there is a lack of knowledge on ways in which sound can be brought playgrounds. With the interdisciplinary project Sonic Playgrounds, we address this problem by developing methods, tools and guidelines which emphasize the role of sonic interactions on playgrounds. In this paper, we present two Sonic Playground studies: a workshop with interaction design students and a field study on a semi-public playground.

2013-09-01T00:00:00Z, Seibert, Gabriela, Hug, Daniel

In this paper we describe a novel approach to the sonification of crawl swim movement. The design method integrates task and data analysis From a sport science perspective with subjective experience of swimmers and swimming coaches, and strongly relies on the skills of musicians in order to define the basic sonic design. We report on the design process, and on the implementation and evaluation of a first prototype.

2012-07-01T00:00:00Z, Hug, Daniel, Cslovjecsek, Markus