Graphic Scores Research Articles

Engaging under-represented groups in soundscape evaluation through creative, embodied listening practices

Soundscape studies has been dominated by responses from hearing and neuro normative, middle class and English-speaking communities, often ignoring how noise can illuminate urban power structures and more readily affect underrepresented city communities. A re-evaluation of current methods is required to engage with a more diverse and representative response. This presentation will discuss findings from co-produced research practice that engages in participatory soundscape evaluation with a range of underrepresented groups including neurodiverse, non-English speaking, and refugee communities. The research uses two accessible and innovative visual methods across specially chosen community focus groups: graphic scoring (the abstracted visual representation of sounds taking from musicological practices) and emotional body mapping, (using a body outline as a template, to investigate 'embodied listening') alongside a guided listening practice inspired by Deep Listening. These methods move beyond the lack of common public lexicon around sound and the absence of defined Western listening practices to create new, perspectives, deepening the exploration of the direct impact of environmental sound and building a more inclusive, representative, and equitable 'Acoustemology of Community'.

Using convolutional neural networks to automatically score eight TIMSS 2019 graphical response items

International large-scale assessments (ILSAs) have used graphical response-based items to measure student ability for decades, but they have yet to implement automated scoring of these responses and instead rely on human scoring alone. To investigate how scores provided by machine algorithms compare to those provided by human raters, we applied convolutional neural networks (CNNs) to classify image-based responses from eight Timss 2019 items. Our results show that the most accurate CNN models classified over 99% of the image responses into the appropriate scoring category for dichotomous items and almost 98% for one trichotomous item. Additionally, during the modeling process, the CNNs correctly classified numerous image responses that human raters had scored incorrectly. For most items, the number of incorrectly human-scored responses exceeded the average number of responses misclassified by the most accurate models. These results suggest that automated scoring using CNNs is comparable to, and in many cases more accurate, than human raters, even across a wide variety of graphing tasks. This paper argues that the machine learning procedure explored could be implemented in ILSAs as a verification method to improve the accuracy and consistency of graphical response item scores. In lieu of additional human raters, ILSAs could implement CNN-based automated scoring to provide a second set of scores, thus reducing the workload and costs associated with human scoring.

Percussion solo parts in Rogerio Duprat’s Antinomies I

This article aims to analyse the solo percussion parts in Antinomies I, written for chamber orchestra by Brazilian composer Rogério Duprat (1932–2006) in 1962. Characterised by its graphic notation, the composer uses indeterminacy to lead the orchestra into an unconventional paradigm of sound creation. The analysis focuses on the percussionist's range of choices in order to understand how they affect the macro and microstructural elements of the work. There is considerable scope for choices in the percussion part of Antinomies I, which requires the use of "multi-percussion". Eight of the thirty-two circular structures that form the score are percussion solos. It is a significant number, greater than any other individual instrumentalist from the chamber orchestra. These circles form a heterogeneous group with different degrees of indeterminacy whose analysis reveals the interpretive process of transforming a graphic score into percussion sounds.

A CLINICAL TRIAL OF VIRTUAL REALITY IN PHYSICAL THERAPY FOR BURN PATIENTS: EFFECTS ON PAIN PERCEPTION

In clinical contexts, virtual reality (VR) has demonstrated potential as a cognitive diversion technique to alleviate discomfort among patients undergoing challenging procedures, including physical rehabilitation for burn victims. However, the extent of research investigating the effectiveness of VR in reducing pain during physical therapy for burn patients is limited. This clinical trial was conducted at Civil Hospital's burns unit in Hyderabad and involved 68 participants. Each participant underwent two 6-minute physical therapy sessions, one utilizing VR and the other without VR. After each session, participants provided feedback on their pain experience, which the treating therapist documented. Analysis of graphic rating scores revealed a significant decrease in pain levels during physical therapy with VR compared to physical therapy without VR. The average scores for pain rumination, worst pain intensity, and unpleasantness decreased from 5.99 to 3.88, 6.24 to 3.41, and 6.18 to 3.82, respectively. The paired t-test indicated a highly significant p-value of less than 0.001. The results of this study suggest that VR is a valuable tool for reducing pain during physical therapy for burn patients. Further research is necessary to explore the long-term effects of VR on pain management and its potential application in other clinical settings.

ABDUCTIVE REASONING AS A MODEL FOR MUSICAL CREATION IN JULIO ESTRADA’S MUSICAL WORKS

The paper deals with two philosophical postulates that although at first sight both do not have a direct link, it is my hypothesis that there may be a connection between them since in each one imagination plays an important role in the process of scientific discovery. On the one hand, it deals with the abductive reasoning by Charles Sanders Pierce (1839–1914), focusing on the problem related with abduction and scientific imagination, graphicacy or the ability to represent ideas through images, beelddenken or “pictorial thinking” as a form of communicating ideas without the use of any verbal form, and synthetic topology responsible for studying the qualitative relations of any 3-D geometrical structure. On the other hand, the author presents the philosophical postulates of the Theory of Composition: discontinuum-continuum by Julio Estrada (*1941), where reality and imagination play an important role in the process of musical creation, presenting a two-fold methodology of creation, (1) the macro timbre where the homogenization of the components of the rhythmsound takes place, and (2) the chronography, a graphic representation of the rhythmsound in movement. The latter is exemplified in this paper with the three examples of Estrada’s musical compositions, (1) the graphical score of eua’on UPIC (1980), (2) graphical recording for the series yuunohui’ (1983–2020), and (3) the topological variations included in the ishini’ioni String Quartet (1984–1990).

PENGEMBANGAN MEDIA PEMBELAJARAN BERBASIS WEB GOOGLE SITES PADA PEMBELAJARAN BAHASA INDONESIA KELAS IV SDN 07 SITIUNG

This research is motivated by the use of Google Sites web-based learning media which is not optimally taught to students. This study aims to produce Google Sites Web-Based learning media in Class IV Indonesian Language Learning at SDN 07 Sitiung that is valid, practical and effective. This type of research is research and development (Research and Development). The development model used is the ADDIE model. This research was conducted at SDN 07 Sitiung. The research subjects were fourth grade elementary school students. Validity test research data obtained through expert validation sheets. Practicality data was collected through teacher response questionnaires and student response questionnaires. Effectiveness data was tested through test questions. The collected data were analyzed based on the research results.Based on the results of the 5 validity test from 4 expert validators obtained a content validation score of 83%, a language validation score of 90%, a graphic validation score of 84%, a question validation score of 86% and an RPP validation score of 88%. So that the average percentage data obtained is 86.2% with a very valid category. The results of the teacher's response practicality test obtained 86% results, while the results of the student response questionnaire obtained 79.25% results in the very practical category. The results of the effectiveness test get an average percentage of 78.25% in the very effective category. Based on these results, it can be concluded that the google sites web-based learning media for learning Indonesian at SDN 07 Sitiung which was developed can be declared valid, practical and effective.

PENGEMBANGAN ASESMEN DIAGNOSTIK IPAS DALAM KURIKULUM MERDEKA KELAS IV SDN 01 SITIUNG

This research is motivated by the use of the science of science diagnostic assessment which is less optimally taught by students. This research aims to produce a valid and practical diagnostic assessment of Science Science class IV in the Merdeka Curriculum at SDN 01 Sitiung. The type of research is research and development. The development model used is the ADDIE model. This research was conducted at SDN 01 Sitiung. The research subjects were class IV teachers and principals of SDN 01 Sitiung. Validity test data obtained through expert validation sheets. Practicality data was obtained through teacher response questionnaires, school principal responses, and teacher mobilization responses.Based on the results of the validity test of three expert validators, the graphic validation score was 91.66%, the content/construct validation score was 77.77%, and the language validation score was 95.42%. So that the average percentage data obtained is 88.42% with a very valid category. The results of the practicality test from the assessment of the response of class IV teachers with a result of 92.85%, the results of the principal's response were obtained 92.85%, the results of the response of the driving teacher were obtained 96.42%. Based on these results, it can be concluded that the IPAS diagnostic assessment in the independent curriculum in class IV at SDN 01 Sitiung that was developed can be declared valid and practical.

PENGEMBANGAN ASESMEN DIAGNOSTIK MATA PELAJARAN PENDIDIKAN PANCASILA KELAS IV DALAM KURIKULUM MERDEKA DI SEKOLAH DASAR

This research is motivated by the use of diagnostic assessments that are not optimally taught to students. This study aims to produce a valid and practical diagnostic assessment of the Pancasila Education subject for class IV in the Merdeka Curriculum at SDN 01 Sitiung. The type of research used is research and development. The development model used is the ADDIE model. Based on the results of the validity test of the four expert validators, the language validation score was 90%, the material validation score was 91,42%, the graphic validation score was 88% and the item validation score was 86%. So that the average percentage data obtained is 88,85% with a very valid category. The results of the practicality test from the assessment of the response of class IV teachers obtained 93%, from the assessment of the response of the school principal, it obtained 92% and from the assessment of the response of the driving teacher, it obtained 92%. So that the average percentage is 92% with a very practical category.

Creative rotation in conceptual art: Marcel Duchamp is a composer, John Cage is an artist.

The subject of this study is the intersection points of music and visual art, demonstrated by the example of the creative interaction of conceptual artist Marcel Duchamp and composer John Cage. The possibility of reformatting creativity from the visual to the sound field is considered as a role rotation, within which Duchamp appears as a composer, and Cage as an artist. An attempt has been made to explain the motivation for such a choice. What is the meaning of this, and what do people mean when they choose this or that image for themselves, and create this or that image for themselves. How important it is to change the artistic image and creative image for the master. The research methodology consists in a comparative analysis of these concepts using already known works on this topic and the author's personal observations. In conceptualism, an idea is valued above the process of its materialization in a work of art, and therefore, the technique of execution is not a decisive factor. In such a creative paradigm, the artist's tools themselves become not so essential, which can be paints, a brush or other means of visual representation of the concept, as well as sheet music or a graphic score. The means of artistic expression – sounds or visual elements – also turn out to be equivalent. They all focus around the concept – the dominant point of any kind of creativity. This conclusion becomes the key to the research conducted in this article.

Shape-sound-color as the elements of a graphic score in developing the improvisation skills in education and artistic practice

Shape-sound-color as the elements of a graphic score in developing the improvisation skills in education and artistic practice

The Meticulous Irreverence of José Lopes e Silva: Some Comments on Two Staged Works

ABSTRACT This paper aims to highlight the originality and irreverence of José Lopes e Silva’s (1937–2019) music theatre works. Lopes e Silva was an exceptionally talented guitarist and an extremely inventive composer. However, while his work as a guitarist has received wide international recognition, his work as a composer has been largely overlooked and seems to be somewhat forgotten. Drawing on documents from the Lopes e Silva collection, we will discuss some of his compositional practices by focusing on two of his music theatre works, No Jardim das Delícias (1991–92) and Canticum Joviale (1993). These works belong to a trilogy inspired by a Hieronymus Bosch triptych. The first work, Tentações (1990), appears to be lost. We will examine in particular Lopes e Silva’s complex compositional strategies for articulating the various elements of these music theatre works. These elements include an electroacoustic layer that works as a general script, and to which everything is related (instrumental music, choreography, lighting, and so on); texts (poetry and prose) written by Lopes e Silva himself; different types of music reservoirs; meticulous instructions for improvisation; detailed schemes for dancing and acting; graphic scripts and scores.

Constança Capdeville and the ColecViva Group: Alejandro Erlich Oliva in Interview with Filipa Magalhães

ABSTRACT This article explores the ColecViva activities from the perspective of founding member and double bass player Alejandro Erlich Oliva (b. 1948). The group was founded by the composer Constança Capdeville in 1985 with the aim of performing her music and theatre works and as a pioneering project in Portugal. Interviewed by Filipa Magalhães on two occasions (in 2018 and 2023), Erlich Oliva details the first steps of the group’s actions, discusses the ongoing collaborative work among members of ColecViva, and addresses the ‘pedagogy of deconditioning’ concept that he forged. In the 1980s, Capdeville guided stimulating study programs at the Calouste Gulbenkian Foundation in which Erlich Oliva, as a lecturer, defined the contents within the scope of non-conventional procedures for obtaining sound from the double bass. Capdeville dedicated the music theatre work Amen para uma ausência (1986) for a solo double bass to him. At the composer’s request and in close collaboration with her, Erlich Oliva created the graphic score with specific writing notes for the double bass. This last interview attempts to shed light on his perceptions as a performer.

Cornelius Cardew's Camouflage and Bun No. 2

ABSTRACTCornelius Cardew's Bun No. 2 (1964) provides a unique opportunity to reconcile the composer's indeterminate graphic score Treatise (1963–7) with a more determinately scored orchestral work which uses orthodox staff notation. It represents an amalgamation of Cardew's approach to two notational systems that, owing to their concurrence of use in his oeuvre, can inform our understanding of how graphic scores can be used in determinate compositional processes and vice versa. This article explores why Cardew decided to embark upon this experiment, using contextual information relating to Autumn ’60 (1960) and the influence of other composers, such as Morton Feldman (1926–1987). This is situated in Cardew's notion of ‘camouflage’, a socio‐musical construct relating to the situation and presentation of his widely varied compositional output in the changing musical environment of the late 1950s and early 1960s. The analysis itself covers a small portion of Bun No. 2, drawing extensively upon Cardew's Treatise Handbook (1971), identifying and extrapolating tendencies of musical‐graphical translation and focussing on the use of major and minor triads and their deformation using geometric concepts of ‘perfection’ and ‘imperfection’. Finally, the article considers the implications of this work both for Cardew and for the aesthetics and wider study of graphic score readings, briefly offering a reflection upon the concept of isomorphism in Ludwig Wittgenstein's picture theory (building upon Cline 2020) in relation to the rhetorical notion of ekphrasis (Bruhn 2000) as a means of explaining the uneasy position that this piece occupied for Cardew, read through the lens of camouflage.

The Idea of Cosmic Music in Vytautas Bacevičius’s Composition Graphique, Op. 68 (1964)

The article discusses the musical idea of Vytautas Bacevičius, which he called “cosmic music”. The composer put it forward in the 1960s–1970s, i.e., in the latest period of his life. During this period, he composed the orchestral work Graphique, op. 68. The article aims to reveal how his idea of cosmic music manifests itself in the aforementioned work. Bacevičius used a graphic score in the process of composition of the work. By using it, the composer aimed to transcend the conventional way of musical representation and to realise his idea of cosmic music. Various factors that are implicated, such as Adomas Galdikas’s (1893–1969) painting, Edgard Varèse’s (1883–1965) music, Claude Bragdon’s (1866–1946) philosophy, should also be taken into account. The analysis of Graphique shows explicitly that these factors are closely related to the means of composition used in the work, i.e., sonoristic textures. They reveal not only Bacevičius’s attention to timbres and acoustics, but also the synaesthetic idea, which can be considered a manifestation of his cosmic music.

A Usability Evaluation Instrument for Pain Management Mobile Applications: An Elderly’s Perspective

Technology offers new opportunities in healthcare to manage chronic conditions cost-effectively. In the adoption of mHealth services, one of the main barriers is usability, especially for users having limitations or special needs, such as the elderly. Unlike mHealth apps specifically designed for the elderly to monitor and manage chronic conditions such as cardio-vascular health, diabetes, and hypertension, there is a lack of research in pain management, including usability evaluation. Moreover, there is a lack of comprehensive usability evaluation tool. This research focuses on the formulation and assessment of the usability evaluation instrument for the mHealth apps, targeting elderly users. An instrument comprising 8 usability constructs and 58 distinct items was formulated. The content of the instrument was verified by five experts. Face validity was performed with 16 elderly pain sufferers on pre-selected pain apps, it also aids in validating the reliability of the instrument. The research also discusses the mapping of the instrument’s items with the usability measures and elderly barriers influencing technology, with graphical visualization and scores of various artefacts. The graphical details would be helpful in identifying the areas for usability improvement from the elderly’s perspective and the scores would be helpful in comparing usability of different applications.

Towards a Rattling of the Everyday

With a focus on the graphic score and the notation process, this article breaks down notions of dimensionality in theatre and offers insight into my compositional techniques derived from understanding the relation of these dimensions as elements in a system. I come to generating theatre with a critical eye on the interdisciplinary potential structurally lodged in what we call theatre, a potential which for the most part remains unquestioned, passed over, and left intact. The notation process unearths this potential at its structural level, offering a radical re-knowing of the form, a re-presenting of content. This article then considers the politics of naming inherent in the generation of any new notation system and the implications of such naming. Interrelatedly, I examine the capacity of notation to reveal social paradigms found in the dynamic junctures of the everyday and the capacity to (re)compose these junctures anew – an urgent rattling of the everyday. Finally, I consider the graphic score and its capacity to represent multiple fictional times as they co-occur within the duration of a given performance time and the ramifications for theatre.

Players chatter and dice clatter: exploring sonic power relations in posthuman game-based learning ecologies

ABSTRACT Responding to both recent interest in sound within qualitative education research and sound studies literature that conceptualizes sound as a posthuman technology, we use this paper to explore the following research questions: How does sound both enact and unveil posthuman learning ecologies? And how can education scholars engage sound within posthuman research? Through a posthuman framework, we position noise as an analytical tool for exploring and unveiling more-than-human relations. We then draw parallels between posthuman qualitative research into sound (via noise) and the ideological foundation of experimental music, a musical tradition deeply invested in working with sound as an agentic actor. Within this alignment, we propose using graphic scores to transcribe sonic data without reinscribing humanist research aims. To illustrate, we provide a micro-analysis of preservice teachers engaged in a role-playing game activity and uncover the ways sound asserts its agency within learning ecologies.

E-MODULE DEVELOPMENT OF WRITING THE SYAIR PERANG MENTENG VERSE-BASED DRAMA SCRIPT USING FLIP HTML 5 (PENGEMBANGAN E-MODUL MENULIS NASKAH DRAMA BERBASIS SYAIR PERANG MENTENG MENGGUNAKAN FLIP HTML 5)

This research is motivated by the unavailability of teaching materials for writing drama scripts that satisfy the instructional needs of the Palembang Malay Traditional Theater Course. Therefore, development research was conducted to obtain the teaching materials. The procedure starts from needs analysis, expert validation, small group evaluation, and field test. The data of the study were collected using questionnaires, interviews, assessment sheets, and tests. The study show that: (1) all students and lecturers needed an e-module to write a drama script based on the Menteng War Verse using Flip html 5; (2) the e-module design can be categorized as valid based on the material score of 34 (75.55%), language score of 41 (74.54%), and the graphic score of 32 (71.11%); (3) this e-module teaching material can be categorized as practical on the basis of the score obtained, i.e. 11 (73.33%); (4) The e-module teaching material can be categorized as very effective based on the average score increase (45.89). Thus, the e-module can be used as teaching materials to write a drama script of the Menteng War Verse.

Still Life with Silence

In my opinion, in a loud world, in which we live today, silence has the value music used to have traditionally. Which consequences can my beliefs have in my work as a composer? How can I convey as an artist this interchange of the value of music and the value of silence? What can I do as an artist with this value and how can it be represented on the musical graphic score? In this article, I will explain up-to-date about my graphic works “Still Life with Silence” (Still-Leben mit Stille) and analyze some aspects and elements used.Keywords:Silence, Graphic Music, Still Life.

Mathematical and Software Formation Process of Simulations on a Graphical Processing Unit

The paper investigates the value of simulations for research activities and identifies the main reasons for the feasibility of conducting experiments in the virtual space. The work includes two-dimensional and three-dimensional simulations built using Unity Engine. The technology of simulation in two-dimensional space was used for the simulation of Gray – Scott’s reaction-diffusion model. The considered model involves the exploration of the system in which the diffusion reaction of two substances takes place. The resulting software based on this model allows simulating the diffusion pattern in real time or speed up the flow of time in the simulation. The software product allows configuring the basic parameters of the reaction, which gives an opportunity to build simulations of any given substances or systems. It displays the result of the simulation in several modes, which allows user to evaluate different aspects of the studied reaction at any time, e.g. view the concentration of substances, the value of the change in concentration per time unit at each point in the reaction plane. For the implementation of a simulation of Gray – Scott’s reaction-diffusion model, the possibility to apply the optimization method to it by transferring calculations to the graphics core was investigated. Research has shown numerous advantages of the parallelization of calculations by the means of performing them on many threads of the graphics adapter. During the parallelization process for each pixel of the input image, which shows the initial substances application pattern on the plane, a separate stream is allocated, which calculates the values of concentration and changes in concentration at the material point of the reaction plane. From the stated above it can be concluded that the number of running computing streams is equal to the number of pixels in the image. Therefore the simulated visualization of diffusion helps to better understand real world processes, such as chemical reactions in the synthesis of hematopoiesis, fermentation. The perspectives of simulation in three-dimensional space were analyzed at the basis of the behavior of living flocks of the same type. A host of simple processes, such as avoiding collisions of elements with each other inside their groups, maintaining a common direction of movement, and bypassing obstacles along the way were implemented. The resulting flock behavior is not governed by one module of behavior of the whole flock, but is formed by the behavior of each individual entity within the flock. Therefore, the behavior of the simulated flock reflects the real behavior of flocks in nature. The described simulation was also investigated for the possibility of optimizing processes using calculations on the graphics core. Each element of the flock has a separate independent module that requires the awareness of all other entities in the flock to determine the impact on its own decisions about the movement and orientation Therefore, the graphical core allocates a separate stream for each flock entity.