Use of sl for music education 2016
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A presentation on the use of Second Life for Music Education scheduled as a part of SLMOOC 2016
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Use of sl for music education 2016
- 1. Second Life for professional development and education in music expectations, outcomes, implications Music Island Concerts 2016 1
- 2. Introduction: Who is Kate Miranda, how did she find SL and what has she been doing in virtual world music since 2006 2
- 3. Cedar Island: an educational collective 2006-2012 3
- 5. Music Island at Virtlantis 2012- Present 5
- 6. What have we found as the various reasons professional musicians and music educators came to Second Life? 6
- 7. To develop new material, prepare for performance 7
- 8. To develop new material, prepare for performance • Virtual concerts give musicians and music students a live and responsive audience to try out new material • Music Island partnered with a Swiss conservatory professor who had his students give SL concerts prior to performance exams. All students in this program have passed their exams. 8
- 9. Here an early Music Ensemble prepares for performance with SL concert 9 https://youtu.be/m5dL5Qq_wcY
- 10. What about age barriers in SL? • Younger students don’t have to enter SL to perform or view • Young performers can share their work via video • Concerts created for young audiences can be attended by teachers who share the content on screen 10
- 11. Another Professional Development Outcome: Networking for new collaborations 11
- 12. Reason # 4: Networking for new collaborations • Musicians meet other musicians from around the world via virtual concerts • A duo from the east coast paired up with a duo from the west for an rl tour • An electro-accoustic musician from Denmark joined a US colleague for a Nashville concert • A Swiss professor hosted an Italian pianist who held Masterclasses at his conservatory 12
- 13. Networking for education and career development https://youtu.be/wzvX5YqcCEg 13
- 14. Networking for career development, cont’d • Musicians help musicians find performance opportunities near them and share news • Several examples from Music Island of successful networking: – An Italian tour was facilitated through virtual connections for a US ensemble – A North American debut was arranged for a European pianist – Within the context of all of these developments considerable professional development was facilitated 14
- 15. Virtual Reality affordances for : Audience development, music appreciation 15
- 16. Audience development, music appreciation • Musicians & music educators with the long-range goal of turning on new audiences to different musical styles find virtual concerts very rewarding • Over 80% of attendees polled at virtual classical concerts said that they had never attended a live classical concert—a proportion unheard of in other audience outreach initiatives • Some activities, such as «open rehearsals » work much better in virtual reality as all performers can be heard clearly during the rehearsal • Virtual concerts have great potential for community arts education 16
- 17. Guided listening music appreciation, a new form of music appreciation class 17
- 18. Uninterrupted listening with informative remarks in simultaneous text 18
- 19. Mixed reality concerts • Mixed reality concerts involve video-streaming of a live concert into virtual reality while connecting live and virtual audiences • Adding a virtual component to a concert that is being subsidized by a live concert activity is a better business model in the current state of the virtual economy • Some immersionists in virtual worlds dislike streamed video as it breaks their immersion. Adding avatar performers helps off- set this negative. • Mixed reality concerts have the added benefit of promoting awareness of virtual concerts 19
- 20. Christine Caulfield/Christine Montgomery performed “Ada Live” 20
- 21. Professional Development • Keeping secondary skills sharp: using a second instrument or style of music not a part of current career • Learning new skills through self-guided learning and SL collaborations • Getting critical feedback on new compositions and projects • Mounting demos of expensive stage shows • Not possible in real life art/music projects • International dual streaming (still in infancy) 21
- 22. Not possible in real life events 22
- 23. Another not-possible in Real Life example https://youtu.be/WJfnWhJPMw8 23
- 25. Opportunities for Lifelong Learners • Not everyone performing at Music Island is either a professional or a music student, performers have included: – A French Physician with a high level of violin training. Playing in an amateur orchestra in Lyons did not exercise his abilities – A self-taught digital composer from Germany – A mostly self-taught pianist and composer in the UK – All with high-level skills and talent! 25
- 26. An example of the high level of talent from lifelong learners 26 https://youtu.be/aMUtXQl3Vu8?t=7m25s
- 27. How does it work? 27
Hinweis der Redaktion
- Hearing about Second Life through Howard Rheingold’s Brainstorms Community beginning about 2004, I was curious and began to explore. In 2006 I was serving as Executive Director of a symphony orchestra operating in the North York area of Toronto Ontario and also served as an arts consultant to musicians and small arts organizations. Finding a small international music community in virtual reality was of personal and educational interest.
- In 2006, I joined an educational collective that shared the management and content in a 2 sim development. About 14 resident projects were offered each year by educators, lifelong learners and researchers. Beginning in 2006 Kate Miranda set out to learn about music in Second Life and assist in music education.
- After some time learning about SL music, I identified a gap that existed for professional classical and new music practioners and music educators and facilities in SL. There was (and still is) a wealth of venues for social music (clubs, bars, etc.) but those venues invited people to dance and talk, not to listen, and there were also concert halls that were geared to historical role play but impractical for a large audience. The musicians I talked to wanted a simple, practical and inclusive space, so we developed one. On a dedicated islet bridging both simulations, Music Island began to offer concerts beginning monthly and progressing to weekly. Events included this full symphony concert by Sinfonia Leeds, Feb 2008. This was a crazy project given the technology of the time but we made it work. . . Somehow! In 2012, Cedar Island ceased to operate, partly because there was a flight of academics from SL due to the temporary cancellation of non-profit rates and general change in the climate both within SL and in academia. Cedar had always hosted a number of small projects by academics who were in SL as part of a larger university presence. It was a sad day for a number of us in saying goodbye to a longtime SL community. However, Music Island was fortunate to find a new home at Virtlantis in partnership with a language learning shool
- Moving to a very different style of simulation, we wanted to keep the casual feel of Music Island that was welcoming to all. Instead of a rustic summer music festival in the North Pacific, we developed a concert hall that was reminiscient of dockside music festival spaces in the South Pacific.
- Almost as many answers as there are musicians. However, there is a disconnect between the reasons that musicians give and what Linden Labs promotes to musicians. Second Life has very little utility as a promotional or marketing tool, but has other significant affordances that they miss.
- There’s valid concerns about youngsters being in VR, just as there is about them being unsupervised on the Internet in general. We’ve had younger students perform via video and receive feedback via a teacher logged in. We also created some concerts for high school students in Poland with a Polish speaking musician with several music teachers in attendance who were streaming the concerts to classrooms at remote locations.
- While audience reach is generally small in SL, a music career can be enhanced greatly by just one significant connection with a mentor who can help build skills or open doors to new opportunities to learn or perform and the international nature of virtual reality allows musicians to connect to those people and opportunities across great distances.
- Alessandro Marangoni, “Benito Flores” had only met Thomas Coard “Thom Dowd” in Second Life but when the Italian concert pianist and NAXOS recording artist travelled to Switzerland for a concert tour he stopped by the Fribourg conservatiory, played with students coaching various chamber ensembles and produced a virtual concert shared by the SL audience. In this short video, the two were rehearsing their video feed several hours before concert time.
- Music appreciation is a part of both classroom music studies and audience development efforts of professional musicians, orchestras and ensembles. Virtual reality offers some unique opportunities to offer or enhance music appreciation courses.
- I spent about 15 years of my career working in various management roles in classical music and most open rehearsals were deadly dull in real world concert halls because no one in the audience could hear what was going on and because orchestra or ensemble were busy working they didn’t want to spend much time talking to the audience. In virtual reality, the musicians are wearing head sets and you can hear every word!
- For public education we have offered a monthly series hosted by a UK Recording Society guest lecturer who prepares a playlist notecards and types remarks as the music plays. This is so much more helpful to the new classical listener than being told 10 things to listen for that they can’t possibly remember in advance of a recording being played.
- Also mixed reality events can enhance presentations! In 2014 I presented at the TransX Symposium in Toronto hosted by New Adventures in Sound Art. This presentation was a collaboration with the UK Sound Art Environment Sound Spiral, an inflatable portable surround sound environment with 48 independently controlled banks of speakers embedded in the walls of the inflatable and composer/violinist/computer engineer Christine Caulfield. In Britain, Christine played a work in the Sound Spiral. In Second Life her avatar played in a simulation of the Sound Spiral and I shared that all live on double screens at the conference while the whole sound part of the conference was also transmitted over live FM radio.
- Pictured is the tech inworld set up for the TransX Sypmposium with television viewer, slideshow, virtual stage and avatar discussion area all within a 3D model of the UK Soundspiral . (I was too busy presenting to capture photo or video in process! You’ll find a video of a prior performance of the work on the Music Island You Tube Channel
- Within our Music Island resident artists we have had a principal violist keep his violin skills sharp, a classical pianist learn to play jazz and more recently to use sound loops in playing new electro-acoustic music repertoire, including one work recently composed for her through an SL international collaboration. Several musicians are working outside of their professional comfort zones by trying to learn improvisational techniques or sharing some new type of work outside of their usual genre.
- In one concert we floated the audience in space amidst sound and light while the pianist circled them like a planet.
- In “Storm in a Teacup” the audience whirled through visuals based on the themes of storms and tea to a new composition by violinist Christine Caulfield. At one point in the work they are dumped out like tealeaves and fall 200 meters through the air to land in a display of photos of Japanese tea houses in the final calm movement of the work.
- In “Concerto for piano and your words” audience members added words to a white board in livetime that the pianist reflected in his playing.
- I just want to leave you with a few moments of a concert by a young man who is self-taught and lives in an industrial British town where he mostly plays drums with a rock band, but this is the sort of thing he composes at the piano keyboard and the SL audience helps motivate him to learn and share more.
- Finally… How does it all work? Here’s a simple diagram starting with our sound source in the upper right. If you only have one sound source you do not need an external mixer but for more than one source it is advisable to avoid broadcasting more than one stream that can become disconnected over the transmission. One source into the computer and one sound signal out. Common broadcasters are Winamp with Shoutcast plugin, SAM broadcaster, and Nicecast for Mac. A new tool BUTT (Broadcast Using This Tool) is easy but not full featured. Good for beginners. SAM for PC and Nicecast for Mac are preferred options but not free.