EthicalApprovalFormforPostGraduateResearchers
NameofStudent:…. NameofSupervisor:…. School:ArtsMedia Courseofstudy:PhD
NameofResearchCouncilorotherfundingorganisation(ifapplicable):
AHRC
1a. Titleofproposedresearchproject
Towardstherealisationof afullyintegratedInteractiveComputerMusic
System(ICMS),adoptingtransformativeexpressivedimensions.
1b. IsthisProjectPurelyliteraturebased?
NO(deleteasappropriate)
2. Projectfocus
Humancomputerinteractioninmusic.
3. Projectobjectives
TodevelopanICMSwhichachievesinitsdesignandimplementationwhat hasnotyetbeenaccomplishedbycurrentandpreexistingsystems,suchas Reactable(Jordà,Kaltenbrunner,Geiger,Alonso, 2003present), NodeBeat(Sandler,WindleMuller,2011present)andIncredibox(SoFar SoGood,2011present),amongmanyothers,throughtheencapsulation andevolutionofthefundamentalprinciplesbehindthesesystems, including sequenced,transformativeandgenerativeapproachestodesign(Rowe,
1994;Drummond,2009),andtheintroductionofnewones,intheformofa topictheoryinspiredtransformativealgorithmicframework.
Drummond, J. (2009). Understanding Interactive Systems. Organised Sound,14(2),pp.124133.DOI:10.1017/S1355771809000235.Retrieved from
882324.
Jordà, S., Kaltenbrunner, M.,Geiger,G., & Alonso,M.(2003present). Reactable/ReactableMobile/ReactableExperience. [Touchscreenbasedmodular synthesizer hardware instrument/application].Barcelona, Spain: Reactable.
Rowe, R. (1994). 1 – InteractiveMusicSystems.In: InteractiveMusic Systems:MachineListeningandComposing,2nded.(pp.18).Cambridge, Massachusetts:MITPress.
Sandler,S.,Windle,J.Muller,L.(2011present). NodeBeat.[Interactive generativemusicapplication].SanDiego,CA,USA:AffinityBlue.
SoFarSoGood.(2011present). Incrediboxversions1,2,3and4. [Interactivemusicgame].France:SoFarSoGood.
4. Researchstrategy
(Forexample,outlineofresearchmethodology,whatinformation/datacollectionstrategies willyouuse,wherewillyourecruitparticipantsandwhat approachyouintendtotaketothe analysisofinformation/datagenerated)
Thebulkoftheinvestigation isbeingcarriedoutthroughthecontinued developmentofascreenbased ICMS,ScreenPlay,whichbringstogether aspectsof manyprominent,preexistingsystemdesignmodelswiththe novel inclusion of a topictheoryinspiredtransformative/generative algorithm,withtheintention thatitshouldculminateintheestablishmentofa systemdesignmodelwhichofferstheuser(s)/performer(s) asignificantly moreengaging,intuitiveandcompleteinteractivemusicalexperience than thataffordedbyanycurrentlyavailablesystem.Theaccompanyingthesisto ScreenPlaywillbecomprised of:anextensiveliteraturereview(already complete) focused primarily on documenting the history of open interpretation and interactivity in the arts as well as concepts/theories relatingtothedesignandcategorisation ofICMSsandthefunctionalityof manycurrentandpreexistingsystems;amethodology chapter(fullyupto date)outliningtheapproachtoresearchandprocess ofdeveloping ScreenPlay;questionnaires/gathered resultsintended tocollatedatafrom varioususerswiththehopeofaidingtheprocessof development; conclusions/findings; supportingdocumentationfortheScreenPlayMaxfor Livepatch.Alsoincludedinthefinalsubmissionportfoliowillbeanumberof musicalworkscreatedbothbymyselfandotheruserstodemonstrate the influenceofthesystemontheprocess ofcomposition/collaborative, improvisatoryperformance.
5. Whatistherationalewhichledtothisproject?
(Forexample,previouswork–givereferenceswhereappropriate.Anyseminalworksmust becited)
AlmostallcurrentandpreexistingICMSscanbecategorisedasbeingeither transformative,generativeorsequencedand,oftendepending onthe categorywithinwhichtheyfall,tendtofocus(sometimesalmostexclusively) onprovidingthebestpossibleexperiencetotheuser(s)/performer(s) only withregards toasingleparameter/characteristicofthemusicaloutputofthe systemattheexpenseofprovidingdepthincontrol atameaningfullevel oversomeoranyofthemanyotherparameters/characteristics available. Sequencedsystems(Incredibox(SoFarSoGood,2011present), Patatap (Brandel,2012present;Brandel,2015))areusually tailoredtowards alone userandallowforthefullorchestrationandarrangementofsystemspecific orpreexistentcompositions;theconstituentpartsofwhicharebroken up intoshortphrasesandclips.Interactivesystemsbasedonthisdesignmodel areoftendevoidofanyformofinfluentialresponsefromthecomputer in relationtotheinputfromtheuserovertheresulting musical output. Transformativeandgenerative systemsareordinarilyreliantuponan underlyingalgorithmicframeworktogenerateanappropriate musical responsetotheinputinformationfromtheuserandaremore suited than sequencedresponse systems to facilitating multipleuser input. ICMSs basedonthetransformativeorgenerative designmodels(NodeBeat (Sandler,WindleMuller,2011present),Bloom(EnoChilvers,2008))are oftenmelodicallyandharmonicallysimplistic,incorporating onlyafew different parts/lines, and offer limited influence to theuser(s)overthe musicaloutput;whilealloftransformative,generative andsequenced responsetypesystemdesignsarehamperedbyconsiderable stylistic constraints–i.e.itispossibletoprogram/composeanICMS forpractically anygenreofmusic,butitisveryrareforthesesystemstoprovidethe user(s)theopportunity tocontroloralterthisparameter totheirpersonal taste.Byincorporating aspectsofallthreecategoriesintoitsdesign, ScreenPlayaimstoaddressthisissueaswellasthespecificdeficienciesof eachindividualcategory.
The novel inclusion of a topictheoryinspiredtransformativealgorithmic frameworkservestostimulate creativity andbreakroutineinboth compositionalandcollaborative,improvisatoryperformance scenarios.In contrasttotheviewsofAgawu,whobelievestopics‘workbest’inclassical music(Monelle,2006,pp.78),itismybeliefthattopictheoryisbestapplied withinthecontextofelectronicmusic.Monellehimselfnotes theability of topics to evoke otherworldy imagery (2006), which ties in withDenis Smalley’stheoryoftechnological listening(1997),whereby synthesized/resampledsoundsinelectronic musicoftenevokeimageryof machinery,roboticsetc.;whiletheabilityalsotomimicusing thesesame sounddesign processes the textural/timbral and tonalcharacteristicsof manytraditionalandacousticinstrumentsprovidesevengreaterscope to maximisetoeffectsofusingtopicsinelectronicmusic.
Withregardstobreakingofroutineandstimulating creativity;thisis somethingwhichhaslongbeenanissueforallkindsofmusiciansandthere existnumerousexamples(ObliqueStrategies (EnoSchmidt,1975), MakingMusic:74CreativeStrategies forElectronic MusicProducers (DeSantis,2015))ofattemptstocombattheproblem.
Brandel, J. (2012present). Patatap. [Interactive music game]. San
Francisco,CA,USA:jonobr1
Brandel,J.(2015).Patatap.Retrieved 28thMay,2015,from
DeSantis,D.(2015).MakingMusic:74CreativeStrategiesforElectronic
MusicProducers.Berlin,Germany:Ableton.
Eno,B.Chilvers,P.(2008).Bloom.[Interactiveapplication]. Essex,UK: OpalLimited.
Eno,B.Schmidt,P.(1975).ObliqueStrategies.[Ideacards topromote creativityandproductivity].Essex,UK:OpalLimited.
Monelle,R.(2006).TheMusical Topic:Hunt,MilitaryandPastoral. Bloomington,Indiana:IndianaUniversityPress.
Smalley, D. (1997 [2001 online]).Spectromorphology:explainingsound shapes. Organised Sound, 2 (2), pp. 107126. DOI:
10.1017/S1355771897009059. Retrievedfrom
6. Ifyouaregoingtoworkwithinaparticularorganisationdotheyhave theirownproceduresforgainingethicalapproval
(Forexample,withinahospitalorhealthcentre?)
NO(deleteasappropriate)
If YES–whataretheseandhowwillyouensureyoumeettheirrequirements?
7. Are you going to approach individuals to be involved in your research?
YES(deleteasappropriate)
IfYES –pleasethink about keyissues–forexample,howyouwillrecruitpeople?How youwilldeal withissuesofconfidentiality/anonymity? Thenmakenotesthatcoverthe keyissueslinkedtoyourstudy
Anonymity/confidentialityshouldbeeasilyachievedduetothefactthat, otherthanforthepurposeofgaining consent fromeachoftheparticipants, nameswillnotberequiredandonlyasmallamountofpersonalinformation willbecollectedfromeachindividual withregardstotheagerangewithin whichtheyfallandwhetherornottheywouldplacethemselveswithinoneor morecategoriesincluding:electronicmusician, classical musician, nonmusician,gameretc.;beyondthis,allinformation collectedand questionsaskedoftheparticipants willrelatedirectlytothedesignand functionalityofScreenPlayand,inparticular,theGraphical UserInterface (GUI).In ordertomaintainanonymity,theconsentforms,whichwillbe storedsecurelyinalockedfilingcabinetontheuniversity premises and destroyed upon completion of theresearchproject,willhavenodirect connectionwithanyof thequalitative/quantitativedatacontainedinthe completedquestionnaires.
QuestionnaireswillbesuppliedtousersofScreenPlayatpublicshowcases ofthesystemateventssuchasconferencesandtradeshowsetc.,andthe informationcollectedwillplayanimportantroleinfurtherdeveloping and improvingthedesignandfunctionalityofthesystem;notunlikethatoffocus groupsincommercialproducttesting.Forinstance, agameragedbetween
18and30willlikelyhavegreatlydifferingexpectationsastotheappearance, layoutandperceivedaffordancesoftheGUIofanICMSsuchasScreenPlaythanwouldaclassicalmusicianagedbetween45and60.
8. Morespecifically,howwillyouensureyougaininformedconsent fromanyoneinvolvedinthestudy?
Separateconsentformsdetailinghowthecollecteddatawillbeusedinaid oftheresearchprojectwillbeprovidedtoallparticipants alongwiththe questionnairesthemselves.
9. HowareyougoingtoaddressanyDataProtectionissues?
SeenotesforguidancewhichoutlineminimumstandardsformeetingDataProtection issues
Theonlysensitiveinformationcollectedaspartofthestudywillbethe namesandsignaturesofeachparticipantrequiredinordertogainconsent. Theconsentformswillbestoredsecurelyinalockedfilingcabinetonthe universitypremisesandbeaccessibleonlybymyselfforthedurationofthe researchprojectanddestroyeduponcompletionoftheviva.
10. Arethereanyotherethicalissuesthatneedtobeconsidered?For exampleresearchonanimalsorresearchinvolvingpeopleunder theageof18.
No.
11. (a)Doestheprojectinvolvetheuseofionisingorothertypeof
“radiation”
NO
(b)Istheuseofradiationinthisprojectoverandabovewhat would
normallybeexpected(forexample)indiagnosticimaging?
NO
(c)Doestheprojectrequiretheuseofhazardoussubstances?
NO
(d)Doestheprojectcarryanyriskofinjurytotheparticipants?
NO
(e)Doestheprojectrequireparticipantstoanswerquestions thatmaycausedisquiet/ orupsettothem?
NO
Iftheanswertoanyofthequestions11(a)(e)isYES,ariskassessmentoftheprojectis requiredandmustbesubmittedwithyourapplication.
12. Howmanysubjectswillberecruited/involvedinthe study/research?Whatistherationalebehindthisnumber?
It is difficultto determinetheprecisenumberof participantswhowillbe involvedinthestudygiventhecircumstancesinwhichdatawillbecollected.I willsetouttogatherdatafromasmanyusersaspossiblebutIwouldexpecta numberranginganywherefromaround20/30to70/80individuals wouldbe possibleduetothefairlynicheareaofresearch.Ideally,Iwouldhopetocollect informationfromatleast40/50individualsinordertocoveravarietyofages, backgroundsandlevelsofexpertiseinmusic,musictechnology and humancomputerinteraction.
13. Please state which code ofethicshasguidedyour approach(e.g.fromResearchCouncil,ProfessionalBodyetc).
Pleasenotethatinsubmittingthisformyouareconfirmingthatyouwillcomplywiththe requirementsofthiscode.If notapplicablepleaseexplainwhy.
Thecollectionanduseofpersonalinformationanddataaspartofthisstudy willbedonesoinaccordancewiththeUniversityofSalfordCodeofEthics.
Rememberthatinformedconsentfromresearchparticipants iscrucial,thereforeall documentationmustuselanguagethatisreadilyunderstoodbythetargetaudience.
ProjectsthatinvolveNHSpatients,patients’recordsorNHSstaff,willrequireethicalapproval bytheappropriateNHS ResearchEthicsCommittee.TheUniversityCollegeEthicsPanelwill requirewrittenconfirmationthatsuch approvalhasbeengranted.Whereaprojectformspart ofalarger,alreadyapproved,project,theapproving RECshouldbeinformedabout,and approve,theuseofanadditionalcoresearcher.