Posts Tagged ‘research’

It’s not always the way that you do it, sometimes it’s what you do

Tuesday, June 29th, 2010

Fascinating article from the Journal of Experimental Psychology, I like the sound of your voice: Affective learning about vocal signals‘.  We’d all like to think, wouldn’t we, that having a ‘musical’ voice is what counts, and that – to paraphrase the old song – ‘It’s not what you say, it’s the way that you say it’, a kind of vocal sugaring of the pill.

But it seems from this research that while it’s true that the mere sound of a voice can induce different affects in us – hear laughter, and you have a general sense of wellbeing, hear a scream, and you begin to worry – that’s not the whole story.  The results of this study suggest  that hearing a speaker say negatively charged words (like taxes or divorce) would influence your judgement of the acoustic qualities of their voice to the extent that even if that person were to say relatively nice things at a later date, your experience of the content of what they said earlier has coloured the perceived quality of their voice. The opposite applies – someone you heard talk about love and kittens yesterday could tell you you’re fat and for a moment you might think they’d said something nice.

This seems to have enormous implications for teaching in the arts. However ‘musical’ your voice may be, if what you say is negatively charged, then your listener’s perception of those musical qualities will be overridden by the content. And conversely, it goes some way to explaining something that is beginning to puzzle me in my own research – why is it that the people I know that seem to me to be very ‘musical’ often have very quiet, perhaps even subdued and not necessarily highly expressive voices? Could it be that what they all have in common is that they’re nice people, and that their voice is ‘music to my ears’?

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Happiness is a USB foot control

Tuesday, April 13th, 2010

The Infinity USB Foot Control

I don’t think I have loved a piece of technology more than I currently love my new Infinity USB foot control.  I’m  transcribing hours of interviews for my dissertation, and although I type fast, it’s been a very slow process, because the transport controls on iTunes have little finesse, and you need to keep switching focus on the screen, move your hands to stop and start and so on.  Oh for the days of transcription machines which had foot pedals (I used to temp as an audio typist between music jobs, and I loved them).

Searching around the net on Saturday, I read an article about a poor bloke who had spent 40 hours transcribing one hour of audio because he didn’t know about digital transcribing machines (i.e., these days, foot pedal + software).  That’s me I thought, and read on.

Within minutes, I’d ordered an Infinity USB foot control (£47) from Amazon, and downloaded the free transcription software Express Scribe. The pedal arrived yesterday, and the results are amazing. If you’ve ever had to do it, you’ll share my enthusiasm: I transcribed about 15 minutes of audio/3,000 words in well under an hour and a half, and I was getting faster all the time. I’ve also now downloaded the open source QDA software TAMS analyser , which is one of the few programs of its type to work with Mac, and it’s free. (Mentioning no names, but how can you charge $800 dollars for a Windows only program these days? Bloody hell.)

For me, interfaces are much more interesting than the technology behind them. We’re already at a stage where computers can do stuff quickly, and have been for a long time. The challenge now is to find the interfaces which enable us to interact with the technology efficiently and in meaningful human ways.  Frankly, whoever conceived a computer without a foot-control was an idiot: what missed opportunities. Laugh if you like, but I’m saving myself hours and hours that I shall spend doing something more interesting than pointing and clicking at a screen.

For the record, my transcription toolkit, which works brilliantly

  • Apple iPhone voice memo recorder for interviews (+ iTunes to import audio)
  • Macbook
  • Logic Studio (to enhance audio, though there are easier options)
  • Express Scribe transcription Software
  • Microsoft word
  • Infinity USB foot control
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Google, Gutenberg & Research

Sunday, December 19th, 2004

Just how exciting is all the hype about Google’s venture into online books? Is it really the dawn of a new era?

What seems to be missing from all the journalistic screaming is the fact that huge numbers of books and other materials have been available online for some time now. Some of my favourites:

Spell to kvell

But how useful is it to have all these texts, if you can’t spell, type, research, filter, or evaluate? A classic example of this is the difference that accents & diacritical marks make on searching. In a recent search for information on the lovely Daria Klimentova, I decided to see what came up if I spelt her name with the proper Czech accents, i.e. Daria Klimentová. As I suspected, a totally different set of pages, including an encyclopedia entry on Daria from the beautifully designed and webbified ?eský hudební slovník osob a institucí (Czech Musical Dictionary of People & Institutions) from the – as their logo has it – Universitas Masarykiana Brunensis, the Masaryk University in Brno, another beautifully designed site. How would I know that Brunensis was Latin for ‘of Brno’, unless I had a smattering of Latin grammar, geography and the metathesis of medial liquid diphthongs in Slavic languages?

A free lunch?
And in the end, apart from the limitations of Google’s offerings imposed by the humanoids that read the stuff, what will or what can Google actually deliver? Are all those academic publishers who have invested thousands on online journal subscription services suddenly going to stop charging between $10 – $25 dollars an article, or forget about charging universities an institutional rate based on the number of enrolled students?

What’s on the menu, then?
And what of a field like mine, which involves a notation/recording system other than text? As I wrote in another weblog entry, it’s darned difficult to find some of Czerny’s lesser-known works, unless you can be bothered to go to a library, request them from the stack service and search through almost a thousand pages by hand. Similarly, when I tried to get hold of a copy of Tchaikovsky’s 50 Russian Folksongs for piano duet by conventional means, I found that Peters Edition still publish them, but – inexplicably – only 36 of the original 50, and with the titles only in German translation – which is no use at all if you want to cross-reference collections.

I found the full set with the original titles by looking through 60+ volumes of the complete works of Tchaikovsky at the University of London library. I only knew they were there because I saw them on the shelves as I was leaving, having failed to find them in the catalogue ; I only knew when I had found them because I read Russian and music notation.

My point? It takes minutes to flick through hundreds of pages of a physical book, but – even with broadband – hours to do the same online. Catalogues, even in University libraries, are unreliable and inaccurate, prone as they are to the errors and limitations of the person who inputs the records. Materials for study are in multiple languages, formats and notation systems, which you have to know and understand if you want to do anything more than read text in English.

Scholarship? Не пудри мне мозги!”
My rant is about the suffocating domination of English texts in what laughably passes as ‘scholarship’, particularly in my own field, and an insidious acceptance in some areas of Anglo-American academia that this is OK. By contrast, in Central & Eastern Europe, a knowledge of five European languages is not uncommon, and some of the people I studied with in Croatia had a reading knowledge of 12 languages at undergraduate level. A friend in Prague who speaks fluent English, German, Czech, Italian and French had her PhD dissertation proposal thrown out by the Academy of Performing Arts in Prague because she wanted to look at the Tchaikovsky ballets, but didn’t speak Russian, and would therefore not have access to the relevant texts. You can guess where she went instead, of course.

Information vs. Intelligence
I’ve been using the net for nearly 10 years, and I still find that having billions of documents available online is no more useful than having a billion pounds in Albanian lek when you need to feed a parking meter, unless you have some knowledge and understanding about the subject in your head, critical skills, advanced literacy skills, advanced IT skills and a few languages: information does not equal intelligence.

The congress of libraries
But none of this is any use unless you have intellectual curiosity, determination and patience. Ironically, it seems to me that high information at high speed kills off the very passion for knowledge that is needed to process and use it. Furthermore, the thing that used to be at the heart of academic life – dialogue, debate, congress, conference – is also at risk. Webchat and video-conferencing are no substitute for real dialogue. It’s great that you can access libraries online without moving from your seat, but not great if this becomes a substitute for travel and knowledge of an experiential kind.

Study? No thanks
‘Study’ is becoming as boring as it sounds – you, a computer terminal and a lot of words on a screen. I hope I am not still marking papers when essays become little more than a newsfeed from a bunch of anglophone websites, written by students who’ve never had the opportunity to get drunk, travel or sleep with each other, and thus are unable to put the subject, themselves and the whole notion of ‘study’ in perspective.

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The joy of libraries and my Czech mate Czerny

Sunday, October 3rd, 2004


It’s not often that I get goosebumps sitting in a library, but I came pretty near to it yesterday on a trip to the University of London Library. I have been looking for months for the Czerny piano studies on which Riisager’s ballet Etudes was based. I had traced about half of them, but some – in particular those that I like most – I simply could not find. Having trawled through all the online, digitized scores, I kept coming across the same old books over and over again (the School of Velocity). Then I spent a day walking round London’s music shops – the same story.

My last hope (and I’d nearly given up) was a library, and Senate House appeared to have some Czerny I hadn’t heard of on the stacks. Possibly one of the nicest people ever to sit behind a stack service desk fetched me four enormous volumes of Czerny from somewhere in the bowels of Malet Street.

And there they were, those elusive etudes, in a set of books that from their good condition appeared not to have been opened since 1838 when they were published. This was a different Czerny to the one I knew from being a piano student, and it was suddenly easy to see how Riisager got the inspiration for Etudes. Dance permeates these studies to the extent that you’d think Czerny must have done the 19th century equivalent of clubbing every night and come home so loved-up and buzzing that he just had to write exercises the way other people put on their favourite trance album. Saint-Saëns did him an enormous disservice by caricaturing him in Carnival of the Animals with the exercises in thirds. He might have been born in Austria, and associated with Beethoven, but he was Czech – his father came from Nymburk in Bohemia, which explains a lot about the good-naturedness of his music. It also explains why there’s a Czerny Piano competition in Prague.

Think about it – these books are 166 years old, and still in perfect condition. It took less than 5 minutes to get them from the stack shelves, and probably about half an hour to flick through about 1500 pages to find what I wanted. By conrast, I have already lost innumerable music files that I created using version 1 of Logic on my Atari only 12 years ago, and even with broadband, you can’t ‘flick’ through a digitized score.

All of which reminds me of an article I read in July this year by Bruce Stirling of Wired Magazine. He wrote a piece in the Daily Telegraph called Delete Our Cultural Heritage?. His point is that the world is suffering ‘a silent phenomenon of “digital decay”‘; whereas books last centuries, the rapid obsolescence of computers and electronic storage methods means that things that we created only 10 years ago may be irretrievable unless they have been printed out, filed and catalogued – and as Stirling says, can you be bothered? It’s not until you come across an endangered species such as the Czerny pieces, that you realise that future generations may have less to remind them of the 20th century than they do of the 19th.

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