Co-constructing a NIME Performance Pedagogy
Description
In NIME 2018, Marquez-Borbon and Martinez Avila proposed a NIME performance pedagogy envisioning a holistic digital musical instrument (DMI) design approach which takes into account the ecosystemic aspects of communities of practice and the improvisatory and exploratory aspects of non-traditional pedagogical methods, in order to address the problem of DMI adoption and longevity [1]. As recently discussed within NIME, there is a need for developing pedagogies, repertoire, and critical discourse which attends to the long-term needs for sustaining prolonged musical practice within a performance community (for example [2, 3]).
This online workshop aims to start a conversation with members of the NIME community on how we may implement such pedagogies of performance practices with DMIs, by critically addressing existing epistemological and practical issues in NIME pedagogies, as well as by sharing and discussing existing pedagogical approaches among DMI designers, performers, practitioners, and pedagogues in the community. We also aim to ideate and generate new strategies together.
We are particularly interested in the implementation of non-traditional teaching strategies that formally structure both a non-hierarchical learning environment and non-prescriptive learning tasks in order to foster enactive and embodied learning processes, but we are open to discussing other pedagogical views in order to discuss, contrast and reflect on different ideas, strategies and approaches.
Hence, we encourage participants to submit proposals for short presentations on their pedagogical approaches to teaching performance with DMIs, or to share their experiences developing performative techniques for their instrument, as well as their approaches for collaborative and improvisational practices with them, such as by engaging in jam sessions, developing notation or documenting their processes.
They may do so by showcasing their own DMIs or describing their experience practicing to perform with other people’s DMIs. Although it will not be compulsory to prepare a presentation or bring an instrument to attend to the workshop we expect that participants come prepared with ideas that they would like to discuss as well as to have previous experience as performers and designers of DMIs, or who teach others how to perform and design DMIs.
Organizers
Adnan Marquez-Borbon, Universidad Autónoma de Baja California Adnan is a full-time professor at the Autonomous University of Baja California, Mexico. He holds a PhD in Sonic Arts from the Sonic Arts Research Centre, Queen’s University Belfast. He was a research fellow in the interdisciplinary project, “Into the Key of Law: Transposing Musical Improvisation. The Case of Child Protection in Northern Ireland.” His research mainly focuses on the development of skill and learning with DMIs. His creative work lies within improvisational practices and musical technologies.
https://adnanmarquezborbon.wordpress.com/
Juan P. Martinez Avila, The University of Nottingham Juan is a Computer Science PhD candidate at the Mixed Reality Laboratory in the University of Nottingham, and a diversity officer for NIME. During his undergraduate studies in Psychology Juan conducted e-learning research and fieldwork at primary and secondary schools. In addition, his MSci in HCI dissertation project addressed the effects of particular interaction design elements in computer-mediated music learning experiences. In his PhD research, Juan is currently exploring ecologically-informed design approaches for new guitar technologies, with a particular interest in performance preparation activities, i.e. learning and rehearsing guitar repertoires. Juan's current design research is grounded on ethnographic studies, participatory design, and soma design, and has received honourable mention awards at CHI 2019 and CHI 2021. He's currently looking for postdoctoral research positions.
https://zavilaz.wordpress.com/
Mauricio Prieto Astudillo, Universidad Autónoma de Baja California Violist and musical educator, Mauricio has a Bachelor’s degree in music performance from the Autonomous University of Baja California. He holds a Master's degree in Educational Research from the Institute for Educational Research and Development of the Universidad Autónoma de Baja California, as well as a Postgraduate Specialization in Cultural Policies and Cultural Management degree from the Universidad Autónoma Metropolitana. He is currently studying a Ph.D. in Social Business, researching on cultural capital, public formation, artistic education, and public policy. Mauricio has a chapter published in the book “Prácticas de investigación aplicadas a contextos educativos” and has presented in the Conference of Education and Music Research. Mauricio has taught at the Tijuana Musical Arts Center, the National System for Musical Promotion and the Tijuana Youth Symphony. In the latter, he was the founder and director of the String Orchestra and also created the study programs and specialization courses. He is currently a professor of music pedagogy at the Faculty of Arts of the Universidad Autónoma de Baja California, where he collaborates in the research and design of educational programs.
Citations
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