Sonic Material Research Articles

Sonic Sentimentality and the Unification of the Listening Space: Exploring the intersections of oral history and sonic art

This article aims to explore how the theoretical and pedagogical intersections of sonic art and creative oral history may work together to enhance the public response of socially engaged, interdisciplinary artwork. The main topics of discussion will include Panos Amelides’s paper ‘Acousmatic Storytelling’, the socio theoretical approach suggested by Salome Voegelin in her paper ‘Sonic Memory Material as “Pathetic Trigger”’, the behavioral study from the oral history sound installation by Dr Luis Sotelo Castro called Not Being Able to Speak is Torture, and the Deep Listening and Sonic Meditation practices and teachings of Pauline Oliveros, as well as compositions by Yves Daoust, Hildegard Westerkamp and Trevor Wishart. One consistent theme revealed through these investigations was that socially engaged, aurally focused artwork informed and woven by familiar and documented ‘life’ sounds or nostalgic sound events increases emotional triggers for the audience, creating a deeper engagement with the art piece or performance. Furthermore, an informed and host-led directive encouraging participatory and attentive listening through either meditation or discussion increases audience reception and takeaway, thus inspiring and unifying mass group empathy. This article suggests that the application of these techniques by electroacoustic composers, sonic artists, oral historians and interdisciplinary artists will create informed, passionate and empathetic listening spaces that live beyond the insular, creative experience itself.

Exploring Sonic Meaning and Embodiment in Human Cultural Transmission From a Pedagogical Perspective

The authors explore how sonic materials, specifically everyday sounds and songs, create and communicate personal, sociocultural, and ecological meanings. From the lulling passages of a pastoral movement streaming through a symphony hall to the rollicking screams at stadium concerts to the roaring rhetoric and social distortions of divisive political-speak, sound and music signal frequencies and frictions at play in the human experience. Literacies are cultivated, sounds embodied, and ways of sensing, knowing, and being in the world are sonically communicated and established. What happens when sounds encountered in one’s everyday experience are excavated, sampled, and remixed?. What new meanings may be derived? What old meanings might be challenged and reconstituted and reconstructed into new forms of knowing and being? What happens when songs or timeless tunes are analyzed and detangled from their ordinary meanings? How might listeners make the familiar strange and thus renew knowings? And what does any of this mean for the flux and firmness of human cultures in motion?

The Sound of the Stradivari Violin – between Tradition and Modernism

The Stradivari violin had classical instrument manufacturing reach its peak and is also a landmark for consecrated creators and performers. Reproducing the unique sound has been a challenge for luthiers all around the world. At the same time preserving the sound quality and implicitly the instruments themselves remains a difficult task especially for the Museum in Cremona which has undertaken the responsibility of keeping a history page intact. An important step in this direction was taken in 2017, with the international project of the electronic library for the original sound of the Vesuvius violin, one of Antonio Stradivari’s gems. The technical team who successfully completed the project redefined high-quality sampling from a new perspective. Due to it, instrumental music composers can refine their creative discourse inspired by authentic, brilliant sonic material.

Qawwali Routes: Notes on a Sufi Music’s Transformation in Diaspora

In recent years, alongside the concurrent rise of political Islam and reactionary state policies in India, Sufism has been championed as an “acceptable” form of Islam from neoliberal perspectives within India and the Western world. Sufism is noted as an arena of spiritual/religious practice that highlights musical routes to the Divine. Among Chishti Sufis of South Asia, that musical pathway is qawwali, a song form that been in circulation for over seven centuries, and which continues to maintain a vibrant sonic presence on the subcontinent, both in its ritual usage among Sufis and more broadly in related folk and popular iterations. This paper asks, what happens to qawwali as a song form when it circulates in diaspora? While prominent musicians such as the Sabri Brothers and Nusrat Fateh Ali Khan exposed audiences in the West to the sounds of qawwali, in recent years, non-hereditary groups of musicians based in the US and UK have begun to perform songs from the qawwali repertoire. In the traditional setting, textual meaning is paramount; this paper asks, how can performers transmute the affective capacity of qawwali in settings where semantic forms of communication may be lost? How do sonic and metaphorical voices lend themselves to the circulation of sound-centered meaning? Through a discussion of the Sufi sublime, this paper considers ways sonic materials stitch together the diverse cloth of the South Asian community in diaspora.

A FIELD GUIDE TO SONIC BOTANY: THOUGHTS ABOUT ECO-COMPOSITION

AbstractSonic botany is an ongoing project that I have been developing over the past few years. It incorporates natural artefacts: dry leaves, pods, flowers, branches, rocks, bones and other organic findings. These are used as musical instruments that are played on with a scientific/musical tool: tuning forks in various frequencies. The vibration from the tuning forks resonates through the natural artefacts which amplify the vibration and – via sound – reveal the texture, size, material and condition of the organic matter. This process generates new sonic material, new context and new forms of musical composition. The practice developed into several compositions and projects, a performance practice, a notation system and a way of listening. Here I share some of the insights I gained through this process, the tools and the compositional framework.

Music making politics: beyond lyrics

In this article I argue that considering how any sort of music is made more closely - as sonic material, performance cultures, for whom and on whose terms, is integral to projects exploring the music-politics nexus. The case in point is “My Way”, a seemingly apolitical song, as it becomes repurposed: transformed through modes of performance, unusual musical arrangements, and performance contexts. The analysis reveals a deeper, underlying politics of music-making that still needs unpacking: the race, gender, and class dichotomies permeating macro- and micro-level explorations into the links between music, society, and politics. Incorporating a socio-musicological analytical framework that pays attention to how this song works musically, alongside how it can be reshaped through radical performance and production practices, shows how artists in diverging contexts can ‘re-music’ even the most hackneyed song into a form of political engagement.

Towards an Absent Music

Susan Philipsz’s Study for Strings (2012) is a 24-track sound installation originally set up at the end of a platform at the main train station in Kassel (Germany). The installation’s sonic material is drawn from a string orchestra composition of the same name by the Jewish-Czech composer Pavel Haas, written in 1943 while he was interned at Theresienstadt and shortly before his execution. For her installation, Philipsz recorded only the viola and cello parts from Haas’s score, allocated a pitch from each instrument to its own speaker, and played the sounds back on loop. According to the artist, the installation’s “silences” (the parts from Haas's score that she did not record) allude to the absence of those murdered in the camps. Departing from these comments, this paper argues that Study for Strings articulates silence as more than an element of aural experience; it is also an effect of the work’s technological, spatial, and architectural remediation of Haas’s musical material. The argument first draws on Juliane Rebentisch’s proposition that sound installation is distinct from music in its spatialization of sonic material. The work’s “absent music”—its silence—resides not only in the missing string parts but also in the way in which the retained musical parts are spatially remediated. This argument is framed by turning to ongoing discourses on how silence functions in Adornian “After Auschwitz” cultural practice.

Editor’s Note: Sounding the Break: Music Studies and the Political

Editor’s Note: Sounding the Break: Music Studies and the Political

We don’t know that we don’t know what a body can do … , or Spinoza and some social lives of sonic material

ABSTRACTThis essay is about how artists, listeners and critics claim to hear life in a sound and how this suggestive, but hazily defined, provocation connects vast cultural circuits of production, technology and capital. I argue that claims to life in a sound also belie an anachronistic return to an early modern understanding of sound as particulate matter and suggest a technoscientific discourse in which sound and data are described in terms of one another. With a close engagement with microsounds – from Gilles Deleuze to computer music specialist Curtis Roads – this essay queries what sonic particulates are presumed to be when they are mapped onto Spinoza’s corpora simplicissima but processed through analogy synthesis or digital tools. In part, this essay tries to speak to a persistent separation of sonic materiality and auditory culture, in music and sound studies in which life in a sound cannot be thought apart from how life is subject to different kinds of extractions. With a return to Spinoza’s physics, this essay also retakes the often sloganized “no one knows what a body can do” to emphasize an ethical recomposition of the text in which to “know” must be as open-ended as “body” is typically emphasized to be.

Disney’s Pastoral Symphony: An Anatomy of Domestic Life, Some Working Notes

The Pastoral Symphony episode in Disney’s Fantasia depicts scenes from domestic life as realized by various mythological creatures: child-rearing and play, courtship, wine-making and celebration, mutual aid and protection, and sleep. Gods are ‘played’ by human-form characters one of which, Bacchus, is central to the episode. Humans are played both by animal-human hybrids (centaurs and fauns) and by animal hybrids (flying horses, unicorns). Bacchus is accompanied by a Disney-invented hybrid, a unicorn donkey. Patterns of oral and sexual imagery are arranged in ring-form structure that runs in counterpoint to a typical cumulative dramatic structure, which is built on a contrast between the Dionysian mode of the central Bacchanal and the more Apollonian conclusion, where all’s right with the world and everything is in it’s place. The poetic function, as described by Roman Jakobson, governs various transformations and displacements that structure the visual and sonic materials in such a way that the episode has something of a ‘meta’ quality of being art about art, with Bacchus as a figure for the artist.

Listening to and Composing with the Soundscapes of Climate Change

Listening to and Composing with the Soundscapes of Climate Change Kate Galloway (bio) Climate change and the soundscapes of the contemporary energy industries, including their environmental impact, are audible. The public, however, is still learning how to listen to, perceive, and express this audible environmental information. Since the early 2000s, Canadian composer Derek Charke has combined electroacoustic elements, field recordings, and acoustic instruments to comment on environmental issues and ecological relationships. Fascinated by recording and composing with the sounds of the environment, Charke's compositions use the sounds of the environment to express his personal affinity for the soundscapes of Northern Canada and concern for the environment. His personal connection to this region and his observations of environmental change shape how his field recorder and his ears listen to these places as he records how climate change irreversibly alters the landscape and social life of Northern Canada. His embodied knowledge of the location influences where he places his field recorder for long durational recordings and how he moves through the environment recording with his handheld field recorder. Field-recording paraphernalia—including omnidirectional condensers, binaural in-ear microphones, hydrophones, contact microphones, and handheld solid-state recorders—provide a means of archiving and listening back to long-form uninterrupted recordings of a location and how its conditions change over time. Field recording enhances human listening, providing sonic information and knowledge gathered through this form of mobile hearing enhancement and recording. Hydrophones, for instance, are submerged deep below the water's surface, listening to aquatic ecologies the human ear is unable to adequately listen to. Field recording and composing [End Page 81] with these recordings can amplify the sonic environment; and by crafting an interpretive sonic document that is rich in sonic detail and nuance, listeners are provided with a sonic space where they can embody an individualized sound world in flux. Charke's extended personal experience in the Arctic and his ongoing concern for the state of the environment are highlighted in this work through his spatial explorations using an array of field-recording techniques and his compositional treatment of his sound materials and subject matter. By listening to the Canadian Arctic and other remote environs, listening with both his ears as well as with his field-recording equipment, Charke provides a sensory experience of environmentally harmful human activity, such as oil refining and industrial-scale production. In the age of climate change awareness, how should composers use sonic materials to address the scope of human impact on the nonhuman environment? This is a question that Charke and other composers, sound artists, acoustic ecologists, and field recordists who create music using environmental sound are attempting to answer through their creative activity that witnesses, archives, and circulates physical and audible environmental change.1 The ecological crisis demands dialogue and collaboration across disciplines and modes of sensory perception. My analysis contributes to the conversation about how expressive culture—particularly music and sound—conveys information and knowledge about environmental issues, taking an alternative format to the sciences in order to disseminate information concerning interactions among human and nonhuman systems, environmental science, and climate change discourse. In this article, I discuss some ways that music and environmental sound are used to listen to the aurality of climate change. Field recording is used by Charke as a creative mechanism for listening to expressive climate change. Through Charke's thoughtful studio manipulation and composition, the field recordings in his music imitate environmental phenomena. Drawing from the interdisciplinary field of acoustic ecology, I sketch out some of the ways that Charke interprets sonic and ecological experiences of live places and environments into his compositions. Acoustic ecology sets out to analyze soundscapes and examine the sonic relationships among human and nonhuman actors in their environment. One of the central motivations of acoustic ecology is to raise public awareness concerning the ways human society [End Page 82] participates in composing, shaping, and revising the soundscape. Following a generation of composers in the 1960s and 1970s who integrated the sonic aesthetics and ecological politics of acoustic ecology into their creative work, Charke similarly uses field recording and modes of intimate listening to environments to depict different types of environmental change. I use...

Uneven Mirrors: Thoughts on the Use of Spatial Doubles and Duplication in Three Recent Works

Uneven Mirrors:Thoughts on the Use of Spatial Doubles and Duplication in Three Recent Works Abel Paúl (bio) Introduction I saw all the mirrors on earth and none of them reflected me. —Borges 1978, 27 This article examines the role of duplication in three of my recent works from a spatial perspective. Here I focus on several fields of study: instruments, objects, stage setups, and performers. These are regarded in light of spatiality, avoiding as much as possible the implications of the temporal and sonic domains. The role of the performers is mostly analyzed from a static point of view, regarding them as carriers and/or depositaries of spatial significance within specific musical setups. A clear interest in setups in which the instruments, objects, and performers are duplicated is present in my work since 2010. This stems from a long-lasting fascination with the visual reproducibility and the [End Page 5] sense of spatial parallelism generated by mirrors. This interest has been materialized in my own work by the creation of setups in which instruments and performers mirror each other, both from spatial and performative perspectives. The use of duplicated instruments and objects may determine a process of visual and sonic equivalences and associations within the space of performance. However, this audio-visual symmetry may be challenged by the usage of dissimilar sonic materials. This possible contradiction may alter or reformulate the mirrored relationships established between two or more identical instruments, delineating a fragile equilibrium between the aural and visual realms. Metaphorically, from a viewpoint of musical duplication, we could regard the spatial domain—the conjunction of duplicated instruments, objects and performers—as the frame of a mirror. In turn, the reflective surface of this hypothetical mirror would be constituted by the sonic domain, completing in such a way the audio-visual contract. The Borges quote above is particularly appropriate when extrapolated into this particular context: mirrors do not always imply an expected reflection, a causal effect. They are rather conceived as frames of potentiality, as indicators of a possible duplication that may be either confirmed or shattered by the nature of their reflecting surface. In Of Other Spaces (1967), Michel Foucault distinguishes between "utopias" and "heterotopias" as spatial realities that, even if in direct relation with real spaces, reverse, counterbalance, and annul the set of relations they embody and/or reflect. Utopias are spaces without a real place, illusory sites "that have a general relation of direct or inverted analogy with the real space of Society" (1986, 24). Heterotopias, on the other hand, could be defined as the reversal to utopias: existing places in which the rest of real places are "simultaneously represented, contested and inverted" (1986, 24). An illustrative example of this is the theatre. During a play, there is usually a representation of unrelated, alternative spaces—e.g., a battleground, a church, a café, etc.—in the circumscribed realm of the stage. In this regard, the theatre, as a heterotopian space, brings together seemingly disconnected and incompatible places and locations. Interestingly, Foucault describes an intermediate state in which heterotopias and utopias are indissolubly intertwined: the mirror. Mirrors may be regarded as utopias as they create an impression of virtual spatiality, a feeling of displacement, of a place without a place. We find ourselves duplicated behind the surface, our corporeal identity virtually dislocated, transferred to an unreachable location. Simultaneously, mirrors may also be considered heterotopian devices as they are concrete objects that exist in reality. They mark a limit between the [End Page 6] virtual space and the real, allowing us to reconfigure our original sense of place in the process of mirroring. This feeling of displacement is paradoxically counterbalanced by our reflected image, our vision oriented towards ourselves from the other side of the glass, permitting us to reconstruct our original sense of space and identity. As Foucault observes, The mirror functions as a heterotopia in this respect: it makes this place that I occupy at the moment when I look at myself in the glass at once absolutely real, connected with all the space that surrounds it, and absolutely unreal, since in order to be perceived it has to pass through this virtual...

My Practice of Live Performance of Spatial Electronic Dance Music

In this commentary I will discuss the technical implementation of sound spatialisation in EDM (electronic dance music) performance practice and outline my compositional approaches involving these techniques. The use of space as a musical parameter in EDM is becoming more common as the accessibility of the technology increases. The technical means of performance and the sonic material combine to create a unique musical aesthetic and listening experience in EDM culture. An historical overview of compositions using spatial considerations as a main musical parameter will situate my work within this artistic practice. Different implementations and propositions of sound spatialisation, as well as the principal locations dedicated to this form of activity will be discussed to contextualise my work. A fundamental part of my research concerns the use of spatialisation tools and techniques to enhance EDM through an immersive sound experience. Concepts and notions of musical 'flow’ and live improvisation have shaped this research and the compositional and performance aesthetics that have come to underpin my creative practice. Furthermore, the idea of immersivity and the sublime have informed my compositional thinking, and this will be assessed in relation to my objective to create an enhanced listening experience in my live performances. A discussion of the blurred roles of composer/producer/performer will demonstrate how I consider my live performance practice to redefine what a composer of EDM can be. Thus, I consider this research to propose a viable model for modern EDM composers.

John Skelton’s Bird Complex: Experiments in Macaronic Voice

ABSTRACTThis article takes up E. M. Forster’s tongue-in-cheek question—“had Skelton a bird complex?”—to explore the function of avian voice in John Skelton’s poetry. Past scholarship has frequently interpreted Skelton’s birds as vehicles of parody or satire. In contrast, this article argues that Skelton’s avian voicing can illuminate the non-semantic or extra-semantic qualities of human language. This argument moves beyond traditional theories of voice that conceptualize voice as a phenomenon experienced by human listeners. Specifically, it examines nonhuman macaronic speech in Phyllyp Sparowe and Speke Parott, two of Skelton’s most popular bird poems. In both poems, birds quote from liturgical or academic sources to access capabilities of language that cohere not in literal or allegorical meanings but affective performance. The first section of this article demonstrates how unauthoritative speakers in Phyllyp Sparowe use macaronic voicing to achieve the affective power of liturgical ritual. The second section explores unauthorized multilingualism in Speke Parott to suggest that nonsense macaronic style was a useful pedagogical tool in premodern literacy training. Both poems, therefore, employ avian speakers to theorize voice as non-lexical sonic material in premodern poetry.

Consumer, Producer, Creator: The mixtape as creative form

The medium and genre of the mixtape, a form dependent upon borrowed, repurposed and re-contextualised sonic material, has recently re-emerged as a vital component of contemporary commercial and creative music culture. This article suggests that analysis of the mixtape’s history and ethos can provide useful insight into ongoing tensions between cultures of active and passive listening, questions of ownership with regard to recorded sound and between the roles of producer and consumer within contemporary audio culture. It also proposes, via reference to relevant contemporary works, that the mixtape may now be considered a vital hybrid creative form, part composition/part compilation, with which composers, producers and sonic artists may actively engage. It historically and culturally contextualises this form, placing it within a lineage of military, political, creative and commercial conflict, which, among recorded sound technologies, is unique to tape and shows that the mixtape may be seen as an expression or utilisation of these factors. Consistent commercial and industrial efforts to suppress tape’s subversive qualities are outlined as are creative methodologies which have been adopted to resist such efforts. Contemporary music industry strategies to channel and commodify the aura and ethos of the mixtape as forerunner of the curated playlists vital to its current business model are detailed and contemporary cassette culture is considered as an alternative inheritor of the mixtape’s legacy and as alternative model for future musical creation and distribution. Finally, a set of characteristics which distinguish the mixtape as a creative form are identified and their potential application and implications are discussed.

Re-composing Sounds … and Other Things

In this article, based on four decades of experience of using samples in diverse ways in experimental, particularly electroacoustic compositions, the author investigates the world of what he calls ‘sample-based sound-based music’ and suggests that there is a relative lack of scholarship in this important area. The article’s contextual sections focus on briefly delineating this world of sonic creativity and placing it within today’s sampling culture as well as dealing with two political aspects of sampling, a musician’s attitude towards the reuse of sonic materials and the legality of sampled sounds, including musical passages, in the discussion of which current legislation related to sampling is challenged. Following this, a number of categories are presented in terms of the types of sampling material that is being used as well as how sample-based works are presented. The subsequent section is perhaps the most poignant in the article, namely the opening up of this form of innovative composition from a more traditional ‘artist creates work’ mode of operation to a more collaborative one which is essentially already part of most other forms of sampling culture. The objective here is to suggest that such collaborative approaches will enable sample-based sound-based music to become part of the lives of a much broader group than those currently involved with it.

Interferences in locally resonant sonic metamaterials formed from Helmholtz resonators

The emergence of materials artificially designed to control the transmission of waves, generally called metamaterials, has been a hot topic in the field of acoustics for several years. The design of these metamaterials is usually carried out by overlapping different wave control mechanisms. An example of this trend is the so-called Locally Resonant Sonic Materials, being one of them the Phononic Crystals with a local resonant structure. These metamaterials are formed by sets of isolated resonators in such a way that the control of the waves is carried out by resonances and by the existence of Bragg bandgaps, which appear due to the ordered distribution of the resonators. Their use is based on the creation of resonance peaks to form additional nontransmission bands mainly in the low frequency regime, usually below the first Bragg frequency. The coupling of both gaps has been made in some cases, but it is not always so. In this work, using a periodic structure formed by Helmholtz resonators, we report the existence of interferences between the resonances and the Bragg bandgaps when they are working in nearby frequency ranges, so that they prevent the coupling of both gaps. We explain their physical principles and present possible solutions to mitigate them. To this end, we have developed numerical models based on the finite element method, and the results have been verified by means of accurate experimental results obtained under controlled conditions.

Ultrafast photonic micro-systems to manipulate hard X-rays at 300 picoseconds

Time-resolved and ultrafast hard X-ray imaging, scattering and spectroscopy are powerful tools for elucidating the temporal and spatial evolution of complexity in materials. However, their temporal resolution has been limited by the storage-ring timing patterns and X-ray pulse width at synchrotron sources. Here we demonstrate that dynamic X-ray optics based on micro-electro-mechanical-system resonators can manipulate hard X-ray pulses on time scales down to 300 ps, comparable to the X-ray pulse width from typical synchrotron sources. This is achieved by timing the resonators with the storage ring to diffract X-ray pulses through the narrow Bragg peak of the single-crystalline material. Angular velocities exceeding 107 degrees s−1 are reached while maintaining the maximum linear velocity well below the sonic speed and material breakdown limit. As the time scale of the devices shortens, the devices promise to spatially disperse the temporal width of X-rays, thus generating a temporal resolution below the pulse-width limit.

Microhardness testing of resin cement versus sonic bulk fill resin composite material for cementation of CAD/CAM composite block with different thickness

Objective: evaluate the microhardness and depth of cure of sonic bulk fill resin composite material for cementation of CAD/CAM composite block with different thicknesses versus the traditionally used dual cured resin cement by assessing microhardness at the top and bottom and calculating bottom/top ratio to determine the depth of cure.Materials and methods: CAD/CAM resin composite blocks (Grandio) restorative materials were used in the present study. For cementation options, two resin materials were selected: SonicFill 2 bulk fill resin composite (Kerr) and Dual-link universal Resin cement (Bisco). Four sections were prepared from each CAD/CAM blocks thickness of 1 mm, 1.5 mm, 2 mm and 3 mm respectively. Sectioned specimens of each CAD/CAM blocks were then divided according to their thickness into three groups (n=5).Portions of each composite cement were placed on a 1-mm thick transparent glass slide and squeezed to a 100µm film thickness Each specimen was covered with one of the CAD–CAM composite block slabs or left uncovered (control) and then light-cured for 40 sec that was positioned perpendicularly on top and in direct contact with the CAD–CAM slabs or the top glass (control).Micro-hardness was obtained for the top and bottom surface of specimens. The mean microhardness values and hardness ratio % of the specimens were calculated and tabulated. Microhardness measurements were performed twice; one immediately and after 24 hours. Statistical analysis was performed. Significance of the difference within the same group was evaluated using one way analysis of variance (ANOVA) test, followed by Tukey’s post hoc test when ANOVA indicated a significant difference. T test was used to compare between both groups. The level of significance was set at P < 0.05. Results: Immediately, in control, a higher mean value was recorded in Sonicfill group, with a statistically significant difference (p=0.011). In 1 mm, 1.5 mm, 2mm, a higher mean value was recorded in SonicFill 2 group, with a statistically significant difference (p=0.003, p=0.00, p=0.00 respectively). In 3 mm resin cement recorded a mean value of 0.495±0.012.After 24 hours, in control, a higher mean value was recorded in resin cement group, with no statistically significant difference (p=0.44). In 1 mm, 1.5 mm, a higher mean value was recorded in SonicFill 2 group, with no statistically significant difference (p=0.55, p=0.356 respectively). In 2 mm, resin cement recorded a significantly higher mean value (p=0.00). In 3 mm, resin cement recorded a mean value of 0.876±0.008Conclusions: Under the limitation of the current study it could be concluded that bulk fill light cured resin composite as new trend in cementation procedure can be efficiently cured through CAD/CAM composite blocks with thickness not more than 1.5mm. Indeed, dual curable resin cement remains convenient for cementation of thicker indirect esthetic restoration.

Guitarreando: Estudo sobre a utilização de modelagem e tablatura no ensino de violão mediado por tecnología

O presente projeto estuda a efetividade da modelagem e da tablatura no ensino do violão mediado por tecnologia, utilizando procedimentos experimentais com o objetivo de subsidiar a eleição, o design e o desenvolvimento de ambientes musicais educativos. Dentro deste contexto, 41 participantes realizaram exercícios musicais através de três meios digitais: vídeo, áudio e tablatura. Foram modeladas atividades de execução de acordes utilizando cordas soltas, de melodias com cordas soltas usando somente uma mão, e de melodias empregando cordas pisadas que demandam a coordenação motora de ambas manos. Através do estudo, respondemos às seguintes perguntas: Quais modelos digitais – vídeo e áudio ou tablatura – são mais efetivos para o ensino inicial de violão? Quais materiais sonoros (acorde, melodia com cordas presas ou melodia com cordas soltas) são mais adequados? Em relação aos critérios número de acertos e tempo de execução, os resultados indicam que a tablatura é mais efetiva que os modelos digitais disponibilizados em formatos audiovisuais ou sonoros. Quanto aos materiais musicais, os resultados sugerem o uso de atividades empregando melodia cordas soltas (arpejo) nas fases iniciais. Discutiremos também as preferências, o grau de dificuldade e a Distorção Perceptiva da Performance Musical - DPPM (diferença entre o que o usuário/estudante acredita ter executado e o que ele efetivamente executou) com o intuito de compreender as implicações do ensino a distância de violão na ausência de um professor ou tutor.