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Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
Songification: Enhancing live music data
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Songification: Enhancing live music data

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Presentation (with live music performance) at eResearch Australasia 2013

Presentation (with live music performance) at eResearch Australasia 2013

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  • A gig is one of the ways in which music, people, and place come together; a dynamic engagement that connects a specific time and location with various forms of agency (audiences, groups, and the organizations responsible for instituting, regulating, and authorizing a music event). In this sense gigs are made up of multiple, related and contingent attributes that cannot be isolated from their associated networks of audiences, musicians, amenities and so on.
  • Play Live
  • Play live
  • Need to put the “gig” back into gigabytes…putting the strum in your instruments…new frameworks for engagement and interaction ariseaccess use and reuse of data and information resourceshow creativity and innovation isAl the benefits of making music – collaboration etc.embodied in eresearch practices and our objects of studyOn the media’s role in the shaping of research (and in particular eResearch) as well as the communication of it“The phenomenon extends beyond the math-music association. Strikingly, many high achievers told me music opened up the pathways to creative thinking. And their experiences suggest that music training sharpens other qualities: Collaboration. The ability to listen. A way of thinking that weaves together disparate ideas. The power to focus on the present and the future simultaneously.” collaboration, creativity, discipline and the capacity to reconcile conflicting ideas. Take pleasure in listening.http://www.nytimes.com/2013/10/13/opinion/sunday/is-music-the-key-to-success.html?pagewanted=1&_r=1&
  • Transcript

    • 1. Professor Deb Verhoeven @bestqualitycrab
    • 2. THIS PRESENTATION AIMS TO: • • • • • • • Put the gig into your Gigabytes Dance to the beat in your Beta Amp up the bass to your Databases Dig the rhythm in your Algorithms Hype the „hip‟ in your Microchip Stress the strum in your instruments And make you want to be and not just do a „back up‟ CRICOS Provider Code: 00113B
    • 3. • Alex Gionfriddo • Peter Gravestock • Alwyn Davidson • James Verhoeven CRICOS Provider Code: 00113B
    • 4. TUGG.ME CRICOS Provider Code: 00113B
    • 5. • Shaun O‟Keefe • Steve Bennett • Viveka de Costa CRICOS Provider Code: 00113B
    • 6. IN TUGG YOU WILL FIND DATA ABOUT • Almost 10,000 gigs • 750+ Venues at more than 550 locations • 1750+ Bands and performers • Maps of where gigs happened • Plus the ability for serious TUGG users to download a set of results into CSV format CRICOS Provider Code: 00113B
    • 7. WHAT IS A GIG? People CRICOS Provider Code: 00113B Place Music
    • 8. “The best live bands are tight, but a truly great live experience is almost dangerous. There’s a sense that the show is just a moment away from being completely out of control.” From Wide Open Road, ABC Radio National, 2008 CRICOS Provider Code: 00113B
    • 9. GO-SET (1966-1974) CRICOS Provider Code: 00113B
    • 10. LISTINGS CRICOS Provider Code: 00113B
    • 11. A GIG IN TUGG CRICOS Provider Code: 00113B
    • 12. People CRICOS Provider Code: 00113B
    • 13. SHADY ALAN CRICOS Provider Code: 00113B
    • 14. Places CRICOS Provider Code: 00113B
    • 15. THUMPIN’ TUM (1965-1972) “I can remember going there and feeling very square and unhip to it. The Tum was so much hipper than anywhere in Sydney” Billy Thorpe Go Set (1971) CRICOS Provider Code: 00113B
    • 16. BERTIES “(It) had once been the home of the Public Schoolboys' Club. It was run by Tony Knight, the son of a very successful catering family. A handsome flamboyant character who sat at the front door four nights a week dressed to the nines in velvet and lace, Tony embodied the elegance of the "Mod" Edwardian style that had become so popular in Carnaby Street in the late '60s. Bertie's was without doubt the best live music club Australia has ever had…Bertie's -- like all Melbourne venues except the pubs -- didn't sell alcohol.. Bertie's was all about local live music and people came in droves simply because of the bands and the vibe.” CRICOS Provider Code: 00113B Billy Thorpe
    • 17. CRICOS Provider Code: 00113B
    • 18. 1. MAX MERRITT AND THE METEORS CRICOS Provider Code: 00113B
    • 19. GIGOGRAPHY CRICOS Provider Code: 00113B
    • 20. SONGIFICATION: METHOD venue.name Date Distance from GPO KM Date diff Note Frequency Prorata Nearest Note Nearest C Major Berties 31/12/68 1.776 0.00 F 1776 161.0014746 155.56 D3 Thumpin' Tum 31/12/68 0.584 4.00 F 584 130.81 130.81 C3 Swinger 4/01/69 4.772 1.00 C 4772 236.8854157 233.08 A3 Sebastians 5/01/69 1.444 0.00 A 1444 152.5924397 146.83 D3 Berties 5/01/69 1.776 5.00 F 1776 161.0014746 155.56 E3 Sebastians 10/01/69 1.444 1.00 A 1444 152.5924397 146.83 D3 Impulse 11/01/69 3.479 0.00 G 3479 204.1357709 196 G3 Opus Uptown 11/01/69 7.544 1.00 B 7544 307.0957912 293.66 D4 CRICOS Provider Code: 00113B
    • 21. GIGS SONIFIED CRICOS Provider Code: 00113B
    • 22. BACKING TRACK CRICOS Provider Code: 00113B
    • 23. MAX MERRITT GIGS SONGIFIED CRICOS Provider Code: 00113B
    • 24. 2. BILLY THORPE AND THE AZTECS CRICOS Provider Code: 00113B
    • 25. GIGOGRAP HY CRICOS Provider Code: 00113B
    • 26. GIGS SONIFIED CRICOS Provider Code: 00113B
    • 27. BACKING TRACK CRICOS Provider Code: 00113B
    • 28. BILLY THORPE SONGIFIED CRICOS Provider Code: 00113B
    • 29. 3. DOUG PARKINSON CRICOS Provider Code: 00113B
    • 30. GIGOGRAPHY CRICOS Provider Code: 00113B
    • 31. GIGS SONIFIED CRICOS Provider Code: 00113B
    • 32. BACKING TRACK CRICOS Provider Code: 00113B
    • 33. DOUG PARKINSON SONGIFIED CRICOS Provider Code: 00113B
    • 34. EAR WORMS • Recognise the role of the media in shaping research, not just communicating it • If genuine engagement and interaction are to occur we need to break down the divide between academics (as producing Analysis) and non-academics (as providing Content) • Recognise that eResearch is always-in-beta • Music: Collaboration; Ability to listen; Drawing together disparate ideas; Power to focus on the present and the future simultaneously CRICOS Provider Code: 00113B
    • 35. PLAY IT AGAIN? www.kinomatics.com/songification CRICOS Provider Code: 00113B

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