Design and Implementation of a Musical System for the Development of Creative Activities Through Electroacoustics in Educational Contexts

dc.contributor.authorPeris, Estebanes_ES
dc.contributor.authorMurillo, Adolfes_ES
dc.contributor.authorTejada, Jesuses_ES
dc.date.accessioned2026-05-28T11:01:16Z
dc.date.available2026-05-28T11:01:16Z
dc.date.issued2025-04-01es_ES
dc.description.abstract[EN] In the field of music education, the incorporation of technology originally designed for professionals presents both significant opportunities and challenges. These technologies, although advanced and powerful, are often not adapted to meet the specific needs of the educational environment. Therefore, this study details the design and implementation process of a system consisting of a hardware device called "Play Box" and associated software "Imaginary Play Box". The design sciences research methodology (DSRM) specifically adapted to software development was used to structure the project. The three phases shown in this study ranged from the conception of an initial prototype to the realisation of working software. During the design phase, a questionnaire was developed to evaluate various aspects of the software, such as the visual interface, the programming of components, and the sound interactivity provided by the Play Box. The technique of panels of experts in music pedagogy and programming in MAX-MSP was used to obtain critical feedback. This expert evaluation was crucial to iterate and polish the process of iteration and refining the software, culminating in a beta version optimised for the creation of electroacoustic music for music education.es_ES
dc.description.accrualMethodSes_ES
dc.description.bibliographicCitationPeris, E.; Murillo, A.; Tejada, J. (2025). Design and Implementation of a Musical System for the Development of Creative Activities Through Electroacoustics in Educational Contexts. Signals. 6(2). https://doi.org/10.3390/signals6020016es_ES
dc.description.issue2es_ES
dc.description.referencesChen, J. C. W., & O’Neill, S. A. (2020). Computer-mediated composition pedagogy: Students’ engagement and learning in popular music and classical music. Music Education Research, 22(2), 185-200. https://doi.org/10.1080/14613808.2020.1737924es_ES
dc.description.referencesHallam, S., and Creech, A. (2010). The role of technology. Music Education in the 21st Century in the United Kingdom: Achievements, Analysis and Aspirations, Institute of Education.es_ES
dc.description.referencesBauer, W. (2014). Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music, Oxford University Press.es_ES
dc.description.referencesMcPherson, G., and Welch, G. (2019). Technology and the Music Teacher. Music and Music Education in People's Lives: An Oxford Handbook of Music Education, Oxford University Press.es_ES
dc.description.referencesBautista. (2021). Student-centered pedagogies in the Singapore music classroom: A case study on collaborative composition. Aust. J. Educ. 43.es_ES
dc.description.referencesMcPherson, G. (2016). Computer-based technology. The Child as Musician: A Handbook of Musical Development, Oxford University Press.es_ES
dc.description.referencesVirtaluoto. (2021). Minimalism Heuristics Revisited: Developing a Practical Review Tool. Tech. Commun. 68.es_ES
dc.description.referencesRuthmann, A., and Mantie, R. (2017). The Oxford Handbook of Technology and Music Education, Oxford Academic.es_ES
dc.description.referencesJorgensen, E.R. (2021). Values and Music Education, Indiana University Press.es_ES
dc.description.referencesMcPherson, G.E. (2016). Transformative music engagement and musical flourishing. The Child as Musician, Oxford University Press. [2nd ed.].es_ES
dc.description.referencesYang, X. (2022). The perspectives of teaching electroacoustic music in the digital environment in higher music education. Interactive Learning Environments, 32(4), 1183-1193. https://doi.org/10.1080/10494820.2022.2115080es_ES
dc.description.referencesGrossman, P., & McDonald, M. (2008). Back to the Future: Directions for Research in Teaching and Teacher Education. American Educational Research Journal, 45(1), 184-205. https://doi.org/10.3102/0002831207312906es_ES
dc.description.referencesYukiko, T., Tan, A.-G., and Oie, M. (2019). Creativity and music education: A state of art reflection. Creativity in Music Education, Springer.es_ES
dc.description.referencesEmmerson, S. (2007). Living Electronic Music, Ashgate.es_ES
dc.description.referencesMartin, J. (2013). Tradition and Transformation: Addressing the gap between electroacoustic music and the middle and secondary school curriculum. Organised Sound, 18(2), 101-107. https://doi.org/10.1017/s1355771813000022es_ES
dc.description.referencesBull, A. (2019). Class, control, and Classical Music, Oxford University Press.es_ES
dc.description.referencesBull, A., & Scharff, C. (2017). ‘McDonald’s Music’ Versus ‘Serious Music’: How Production and Consumption Practices Help to Reproduce Class Inequality in the Classical Music Profession. Cultural Sociology, 11(3), 283-301. https://doi.org/10.1177/1749975517711045es_ES
dc.description.referencesDwyer, R. (2016). Music Teachers' Values and Beliefs, Routledge.es_ES
dc.description.referencesLandy, L. (2007). Understanding the Art of Sound Organization, The MIT Press.es_ES
dc.description.referencesLandy, L. (2012). Making Music with Sounds, Routledge.es_ES
dc.description.referencesHolland, D. (2015). A constructivist approach for opening minds to sound-based music. Journal of Music, Technology & Education, 8(1), 23-39. https://doi.org/10.1386/jmte.8.1.23_1es_ES
dc.description.referencesMurillo, A., Elena Riaño, M., & Tejada, J. (2020). Aglaya Play: Designing a software solution for group compositions in the music classroom. Journal of Music, Technology & Education, 13(2), 239-261. https://doi.org/10.1386/jmte_00025_1es_ES
dc.description.referencesHolland, D., & Chapman, D. (2019). Introducing New Audiences to Sound-Based Music through Creative Engagement. Organised Sound, 24(3), 240-251. https://doi.org/10.1017/s1355771819000311es_ES
dc.description.referencesKazi, S. (2024). Screens, Swipes, and Society: The Future of Digital Citizenship in an Ever-Changing Tech Landscape. Childhood Education, 100(3), 48-51. https://doi.org/10.1080/00094056.2024.2350333es_ES
dc.description.referencesGall, M., & Breeze, N. (2007). The sub‐culture of music and ICT in the classroom. Technology, Pedagogy and Education, 16(1), 41-56. https://doi.org/10.1080/14759390601168015es_ES
dc.description.referencesGall, M. (2013). Trainee teachers’ perceptions: Factors that constrain the use of music technology in teaching placements. Journal of Music, Technology & Education, 6(1), 5-27. https://doi.org/10.1386/jmte.6.1.5_1es_ES
dc.description.referencesLeman, M. (2007). Embodied Music Cognition and Mediation Technology, The MIT Press.es_ES
dc.description.referencesLeman, M. (2012). Musical Entrainment Subsumes Bodily Gestures – Its Definition Needs a Spatiotemporal Dimension. Empirical Musicology Review, 7(1-2), 63-67. https://doi.org/10.18061/1811/52981es_ES
dc.description.referencesLeman, M., & Maes, P.-J. (2015). The Role of Embodiment in the Perception of Music. Empirical Musicology Review, 9(3-4), 236-246. https://doi.org/10.18061/emr.v9i3-4.4498es_ES
dc.description.referencesMaturana, H.R., and Varela, F.J. (1980). Autopoiesis and Cognition: The Realization of the Living, Reidel.es_ES
dc.description.referencesMaturana, H.R., and Varela, F.J. (1987). The Tree of Knowledge: The Biological Roots of Human Understanding, New Science Library.es_ES
dc.description.referencesVarela, F.J., Thompson, E., and Rosch, E. (1991). The Embodied Mind: Cognitive Science and Human Experience, The MIT Press.es_ES
dc.description.referencesRuthmann, A., and Mantie, R. (2017). The Promise and Pitfalls of the Digital Studio. The Oxford Handbook of Thecnology and Music Education, Oxford University Press.es_ES
dc.description.referencesRuthmann, A., and Mantie, R. (2017). Getting in the way? Limitations of technology in community music. The Oxford Handbook of Technology and Music Education, Oxford University Press.es_ES
dc.description.referencesRuthmann, S.A., and Mantie, R. (2017). Interest-Driven Music Education: Youth, Technology, and Music Making Today. The Oxford Handbook of Technology and Music Education, Oxford University Press.es_ES
dc.description.referencesPeffers, K., Tuunanen, T., Rothenberger, M. A., & Chatterjee, S. (2007). A Design Science Research Methodology for Information Systems Research. Journal of Management Information Systems, 24(3), 45-77. https://doi.org/10.2753/mis0742-1222240302es_ES
dc.description.references(2024, August 15). Aglaya.org. Available online: https://www.aglaya.org/about.es_ES
dc.description.referencesTejada, J., Murillo, A., & Berenguer, J. M. (2023). Acouscapes: A software for ecoacoustic education and soundscape composition in primary and secondary education. Organised Sound, 29(1), 55-63. https://doi.org/10.1017/s1355771823000201es_ES
dc.description.referencesMurillo. (2023). Play Box: A sound artefact to approach sound experimentation in the classroom. An exploratory study based on an electroacoustic creation intervention in initial teacher training. Rev. Interuniv. Form. P. 98.es_ES
dc.description.references(2019). IRCAM (Standard No. Cycling'74).es_ES
dc.description.referencesCipriani, A., and Giri, M. (2019). Electronic Music and Sound Design: Theory and Practice with Max 8, Contemponet.es_ES
dc.description.referencesManzo, V.J. (2016). Max/MSP/Jitter for Music: A Practical Guide to Developing Interactive Music Systems for Education and More, Oxford University Press.es_ES
dc.description.referencesTaylor, G. (2018). Step by Step: Adventures in Sequencing with Max/MSP., Cycling ‘74.es_ES
dc.description.referencesGABOR, D. (1947). Acoustical Quanta and the Theory of Hearing. Nature, 159(4044), 591-594. https://doi.org/10.1038/159591a0es_ES
dc.description.referencesRoads, C. (2001). Microsound, The MIT Press.es_ES
dc.description.referencesVaggione, H. (1996). Articulating Microtime. Computer Music Journal, 20(2), 33. https://doi.org/10.2307/3681329es_ES
dc.description.referencesMorgan, R.P. (1994). La música del Siglo XX., Akal Ediciones.es_ES
dc.description.referencesPritchett, J. (1996). The Music of John Cage, Cambridge University Press.es_ES
dc.description.referencesRoig-Francolí, M.A. (2008). Understanding Post-Tonal Music, McGraw-Hill Education.es_ES
dc.description.referencesXenakis, I. (1992). Formalized Music: Thought and Mathematics in Composition, Pendragon Press.es_ES
dc.description.referencesde León, L.P., Betored, P.S., Mayo, R.M.D., and Prada, R.P. (2023). The Language of Aleatoric Music: Trends, Reflections, and Didactic Proposals, Wanceulen Editorial S.L.es_ES
dc.description.referencesManning, P. (2013). Electronic and Computer Music, Oxford University Press.es_ES
dc.description.referencesRoads, C. (2015). Composing Electronic Music: A New Aesthetic, Oxford University Press.es_ES
dc.description.referencesKühn, C. (2004). History Of Musical Composition In Annotated Examples, Idea Books.es_ES
dc.description.referencesSchoenberg, A. (2010). Theory of Harmony, University of California Press.es_ES
dc.description.referencesChion, M. (2016). Sound: An Acoulogical Treatise, Duke University Press.es_ES
dc.description.referencesSchafer, R.M. (2007). The Composer in the Classroom, Melos.es_ES
dc.description.referencesSchaeffer, P. (1966). Treatise on Musical Objects, Éditions du Seuil.es_ES
dc.description.referencesTejada, J., & Morel, T. T. (2019). Design and validation of a music technology course for initial music teacher education based on the TPACK framework and the project-based learning approach. Journal of Music, Technology & Education, 12(3), 225-246. https://doi.org/10.1386/jmte_00008_1es_ES
dc.description.referencesKönings, K. D., Brand-Gruwel, S., & van Merriënboer, J. J. G. (2007). Teachers’ perspectives on innovations: Implications for educational design. Teaching and Teacher Education, 23(6), 985-997. https://doi.org/10.1016/j.tate.2006.06.004es_ES
dc.description.volume6es_ES
dc.identifier.doi10.3390/signals6020016es_ES
dc.identifier.eissn2624-6120es_ES
dc.identifier.urihttps://riunet.upv.es/handle/10251/235504
dc.languageIngléses_ES
dc.publisherMDPI AGes_ES
dc.relation.ispartofSignalses_ES
dc.relation.pasarelaS\582070es_ES
dc.relation.publisherversionhttps://doi.org/10.3390/signals6020016es_ES
dc.rightsReconocimiento (by)es_ES
dc.rights.accessRightsAbiertoes_ES
dc.subjectSoftware designes_ES
dc.subjectMusic educationes_ES
dc.subjectSound creationes_ES
dc.subjectElectro-acoustic musices_ES
dc.titleDesign and Implementation of a Musical System for the Development of Creative Activities Through Electroacoustics in Educational Contextses_ES
dc.typeArtículoes_ES
dc.type.versioninfo:eu-repo/semantics/publishedVersiones_ES
dspace.entity.typePublication
upv.uuid2430f309-6552-4da7-9fa4-16894da102dees_ES

Archivos

Bloque original

Mostrando 1 - 1 de 1
Cargando...
Miniatura
Nombre:
PerisMurilloTejada - Design and Implementation of a Musical System for the Development of Creativ....pdf
Tamaño:
13.48 MB
Formato:
Adobe Portable Document Format
Descripción:
Versión editorial