'Lines of flight': digital musical instruments, inclusive music bands, meaningful engagement in music-making and learning

In this study I examine the development of three inclusive music bands in Cork city. Derived from Jellison’s research on inclusive music education, inclusive music bands involve students with disabilities coming together with typically developing peers to make and learn music that is meaningful (Jellison, 2012). As part of this study, I established three inclusive music bands to address the lack of inclusive music making and learning experiences in Cork city. Each of these bands evolved and adapted in order to be socio-culturally relevant within formal and informal settings: Circles (community education band), Till 4 (secondary school band) and Mish Mash (third level and community band). I integrated Digital Musical Instruments into the three bands, in order to ensure access to music making and learning for band members with profound physical disabilities. Digital Musical Instruments are electronic music devices that facilitate active music making with minimal movement. This is the first study in Ireland to examine the experiences of inclusive music making and learning using Digital Musical Instruments. I propose that the integration of Digital Musical Instruments into inclusive music bands has the potential to further the equality and social justice agenda in music education in Ireland. In this study, I employed qualitative research methodology, incorporating participatory action research methodology and case study design. In this thesis I reveal the experiences of being involved in an inclusive music band in Cork city. I particularly focus on examining whether the use of this technology enhances meaningful music making and learning experiences for members with disabilities within inclusive environments. To both inform and understand the person centered and adaptable nature of these inclusive bands, I draw theoretical insights from Sen’s Capabilities Approach and Deleuze and Guatarri’s Rhizome Theory. Supported by descriptive narrative from research participants and an indepth examination of literature, I discover the optimum conditions and associated challenges of inclusive music practice in Cork city.

Human-Computer interaction methodologies applied in the evaluation of haptic digital musical instruments

Recent developments in interactive technologies have seen major changes in the manner in which artists, performers, and creative individuals interact with digital music technology; this is due to the increasing variety of interactive technologies that are readily available today. Digital Musical Instruments (DMIs) present musicians with performance challenges that are unique to this form of computer music. One of the most significant deviations from conventional acoustic musical instruments is the level of physical feedback conveyed by the instrument to the user. Currently, new interfaces for musical expression are not designed to be as physically communicative as acoustic instruments. Specifically, DMIs are often void of haptic feedback and therefore lack the ability to impart important performance information to the user. Moreover, there currently is no standardised way to measure the effect of this lack of physical feedback. Best practice would expect that there should be a set of methods to effectively, repeatedly, and quantifiably evaluate the functionality, usability, and user experience of DMIs. Earlier theoretical and technological applications of haptics have tried to address device performance issues associated with the lack of feedback in DMI designs and it has been argued that the level of haptic feedback presented to a user can significantly affect the user’s overall emotive feeling towards a musical device. The outcome of the investigations contained within this thesis are intended to inform new haptic interface.

Nanostructured materials for Lithium-ion battery technology

The Li-ion battery has for several years been at the forefront of powering an ever-increasing number of modem consumer electronic devices such as laptops, tablet PCs, cell phones, portable music players etc., while in more recent times, has also been sought to power a range of emerging electric and hybrid-electric vehicle classes. Given their extreme popularity, a number of features which define the performance of the Li-ion battery have become a target of improvement and have garnered tremendous research effort over the past two decades. Features such as battery capacity, voltage, lifetime, rate performance, together with important implications such as safety, environmental benignity and cost have all attracted attention. Although properties such as cell voltage and theoretical capacity are bound by the selection of electrode materials which constitute its interior, other performance makers of the Li-ion battery such as actual capacity, lifetime and rate performance may be improved by tailoring such materials with characteristics favourable to Li+ intercalation. One such tailoring route involves shrinking of the constituent electrode materials to that of the nanoscale, where the ultra-small diameters may bestow favourable Li+ intercalation properties while providing a necessary mechanical robustness during routine electrochemical operation. The work detailed in this thesis describes a range of synthetic routes taken in nanostructuring a selection of choice Li-ion positive electrode candidates, together with a review of their respective Li-ion performances. Chapter one of this thesis serves to highlight a number of key advancements which have been made and detailed in the literature over recent years pertaining to the use of nanostructured materials in Li-ion technology. Chapter two provides an overview of the experimental conditions and techniques employed in the synthesis and electrochemical characterisation of the as-prepared electrode materials constituting this doctoral thesis. Chapter three details the synthesis of small-diameter V2O5 and V2O5/TiO2 nanocomposite structures prepared by a novel carbon nanocage templating method using liquid precursors. Chapter four details a hydrothermal synthesis and characterisation of nanostructured β-LiVOPO4 powders together with an overview of their Li+ insertion properties while chapter five focuses on supercritical fluid synthesis as one technique in the tailoring of FeF2 and CoF2 powders having potentially appealing Li-ion 'conversion' properties. Finally, chapter six summarises the overall conclusions drawn from the results presented in this thesis, coupled with an indication of potential future work which may be explored upon the materials described in this work.

Intersections: proceedings of the youth work and music education symposium

The ‘Intersections: Youth Work and Music Education’ Symposium took place on Friday, 27th June 2014 in University College Cork. This event, held in association with the Institute of Social Sciences in the 21st Century (ISS21), was made possible thanks to funding from UCC’s Strategic Research Fund. The principle aim of this seed funding is to generate new research interests and this presented the ideal opportunity for developing collaborative relationships between youth work and music education lecturers, researchers and practitioners across the island of Ireland. This led to the formation of a new ‘Intersections’ research cluster, comprising representatives from four third-level institutions, each of which offers both youth work and music education undergraduate and/or postgraduate programmes, namely: University College Cork; National University of Ireland, Maynooth; Dundalk Institute of Technology; and, University of Ulster. This document presents some preliminary findings from primary research conducted through each of the participating institutions in their local areas. Data was also collected during the symposium, through engaging in small group discussions populated by the event’s participants. The publication and dissemination of this document was included in the original Strategic Research Fund proposal. Its intended audience includes youth workers, music educators, community-based practitioners, policy-makers and academics who are motivated and enthused by the possibilities of music-oriented youth work in Ireland and beyond.