Music & the creative imagination

Rochester Institute of Technology

RIT Scholar Works

Theses

Thesis/Dissertation Collections

11-4-1993

Music & the creative imagination

Pamela Fredericks

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ROCHESTER

INSTITUTE

OF

TECHNOLOGY

A Thesis Submitted

tothe

Faculty

of

Imaging

Arts

and

Sciences

In

candidacy for

the

Degree

of

MASTER

OF

FINE

ARTS

Music

&

The Creative

Imagination

by

Pamela

R. Fredericks

Contents

Acknowledgements

2

Preface

3

Chapter

One

5

The Proposal

Chapter

Two

9

Development

Chapter

Three

11

Design

Chapter

Four

21

Evaluation

&

Conclusion

Endnotes

24

Bibliography

24

Acknowledgements

I

would

like

toexpress

my

deep

appreciationto

my

advisors,

Nancy

Ciolek,

Robert

Keough,

and

James

VerHague

for

theirguidance and assistance throughouttheyear.

I

would

especially like

tothank

Sabine

Susstrunk

for her

instruction,

guidance,

and

suggestions

in

the preparation and

printing

ofthe magazine

Music

&

the

Creative

Preface

Before entering

the

Computer Graphic

Design

program at

Rochester Institute

of

Technology,

I

had been

a graphic

designer

for

a good

many

years.

The

introduction

ofthecomputer

drastically

changedthe nature ofthe graphics arts

industry,

and

in

watching

the

rapidly

changing

technology,

I

realized that these new

developments

broadened

and

diversified

the range of

design

possibilities.

Embracing

thecomputer

as a

design

tool,

and as a new means of

communicating,

I

set about

selecting

a thesis topic thatwouldallow meto explore and masterthese newtools.

In selecting

a

topic,

I

was

intrigued

by

the

ability

ofthecomputerto allowauser to

interact

with,

and absorb

information. I

became

interested

in

amultimedia approach

toeducational

materials,

and

originally

choseto

develop

a prototype

for

an

interac

tivemultimediaprogramaccompanied

by

a companionmagazine thatwould chal

Chapter One

The Proposal

The

purpose ofthis thesis

is

toexplore theuse of

digital

sound and

how

it is

used as

an aid and an enhancement

in

the

writing

and productionof

interactive

and educa

tionalprograms

designed for

the

Macintosh

computer.

This

thesiswillalso contain an

interactive

program

designed for

the

Macintosh

computer,

entitled

"Music

&

the

Creative

Imagination."

The

program

itself

will

be

based

on the

information

compiled

in

the areaof

digital

sound,

withregardsto

equipment,

software,

and

its

useviaa project

format;

theprogram will

illustrate

in

an educational

forum

aswellas

in

an

entertaining

manner,

how

digital

sound can

be

usedas a tool

in

creative andalternative methodsof

educating

both

adults

and children.

Conceiving

the

Format

My

own

beginnings

in

education,

chaotic as

they

were,

developed

a

keen

awareness

thatnot all students responded to traditional textbook and

lecture

methods.

I

became

convinced

during

thecourse of

my schooling

that therewere thoseof us

who would

prefer,

orrequirean alternative meansof

instruction.

Becoming

more

familiar

withthe

interactive

computer,

I

realized that thiswasa perfect

forum

for

those

interested in

new

forms

of

learning.

I

recognized

quickly

that

lessons delivered

viacomputer offered

many

advantagesto the

student; convenience,

control,

choice,

andthe additionof a

fuller,

sensory

experience.

As

a

designer,

this new

format

challenged

my

skills

in

a new

way,

and opened

up

an

investigation

of

issues important

tome.

And

so,

I

decided

that

I

would

develop

an

interactive

educationalprogram thatwould allowme toexplore certain aspects of

We

cannot undermine thevalue ofthecomputer as an

instrument

ofcreative

instruction. I

am

concerned,

however;

that the computer

has

the potentialtocreate

isolation

andalienation.

It

givestheuser

independence

and relative

control;

while

working,

thesocial

intercourse

that

normally

occurs

during

traditional means of

information

exchange

is

eliminated.

For

me,

it

became

important

to

devise

a

way

to

resolve this

issue

in

the

development

of

instructional interactive

programs.

Selecting

the

Subject

Matter

Music

and

how

it

acts on the

imagination

has

always

been

anobsessionofmine.

I

chose music asthe subject matter

for

the thesis

project,

asthiswouldcomplement

my

original

idea

of

exploring

digital

sound

in

multimedia,

interactivity,

and creative

education.

Stimulating

the

imagination

and

facilitating

the

development

ofthecre

ative

impulse in

the educationof childrenand adults

has

been

an

important investi

gation

in my

life.

I

believe

that the mostsuccessful

learning

tool providesthestudent

with an

experience,

andthat the experience shared

between

parent and

child;

student

and

teacher;

or

friends,

is

the onethatremainswithus the

longest,

and

impacts

us

more

profoundly

than

any

other.

By designing

a programthatwas

based

on

human

interaction

aswellas computer

interaction,

I

would eliminate the

possibility

that

computer

interactivity

wouldweaken the abilities of

humans

to relate to eachother.

Structuring

the

Project

and

Content

Once

theproposalwaswrittenand

accepted,

and thesubject matter was

chosen,

it

became

important

to

determine

the exact structure ofthe presentation

in

orderto

determine

alltheelementsto

be

included in

the program.

The

very

nature of music

makes

it

anexperience we can share

both actively

and

passively

and

I

wanted to

build

thisconcept

into

the structure ofthe application.

Therefore it

became necessary

to

include

elementsof

both

an

entertaining

nature,

and elements thatrequired action

onthe part oftheuser.

Thinking

back

to

my

own

childhood,

I

remembered the

magic of

being

read stories at

bedtime,

and

became

concerned that

simply

designing

Another

concern

became

the amount of

information,

via

reading

matter,

it is

wise to

show onthe screen.

Because

I

am

dealing

withmaterial that

is

educational,enter

taining,

and

interactive,

theuserexpects several

things;

control, action,

and

informa

tionprovided

in

an experiential

format.

Thus,

the

decision

was made to

break

the

thesisproject

into

twoparts.

The

first

would

be

an

interactive

project entitled

Music

&

the

Creative Imagination. This

would

be

constructed

using

the software package

Aldus SuperCard. The

second part would

be

a companionmagazine thatwould con

tain

stories,

illustrations,

and photographsthatwould provideadditional

information

not possible to

include

on screen.

This

would allowtheparent and child to read

together,

and

fill

in

all the gaps.

It

became

important

that the

interactive

piece

ignite

the

curiosity

ofthe child and

adult,

thereby

inspiring

themto seek additional

information.

The

experience

I

wantedtopass onto theuserwasthatofthe relationshipsthatexist

between

the

orchestra,

its

parts,

the

instruments

and the

individuals

who contribute

theessential elements that create theentire experience.

Successful implementation

of

both

the

interactive

project and theprinted magazine

depended

on

constructing

a

logical

hierarchy

that

determined

the

flow

ofevents and the

delivery

of

information.

With

that

in

mind,

the

decision

was madeto

feature

the entire

symphony

orchestra,

and then

introduce

all the

individual

unitsthatcontribute to thesuccess ofthe

larger

community;

the

composer;

the

conductor;

the

individual

sections,

andthe

individual instruments.

I

then added a

final

project section to theprogram.

Based

on

many

informative,

or

instructional interactive

programs,

muchthesame as

in

school,

a popular

way

of

summarizing,

or

completing

aprogram

is

to test theusers

level

ofabsorption and

mastery

ofthematerial presented.

In

school,

a studenttakesa quiz

in

class after

compl.

'

">nof specific subjectmatter.

Many

interactive

programs contain a series of

questio. presented to theuseratthe end oftheprogram.

The

userresponds to

these que

ions,

and the computerscores theresults.

My

objective

in

designing

both

an

interactive

program,

andamagazine

is

to

inform,

ignite interest

and

curiosity,

Looking

towardsan

alternative,

creating

a projecttheuser

builds

outside ofthe computeraccomplishesmore of an experiential

grasp

ofthe

information

presented.

This

being

decided,

I

divided

the program

logically

into

section

units,

andthe

hier

archy

ofeventswas ordered

according

to

my

own

form

of

"what

came

first,

the

chicken orthe egg,"

logic.

1

.

An

introductory

sectionwitha

brief

explanationof music and

its

effect on

us.

Because

we

have

nothing

withoutthe concept of

music,

and music

is

largely

an

impulse

based

onthe

relationship

between

sound and the

imagination,

logically,

thissection

is

first.

2.

An

abbreviated

history

oftheorchestra

follows.

Generally,

without an

understanding

ofthe

birth, history,

andraison

d'etre

ofa

subject,

the value and

depth

of

understanding

is greatly diminished.

3

.

A

section

featuring

theworkand

importance

ofthe composerand the conductor

in relationship

to the orchestra.

This

is

the

first

significant

relationship

encountered

in

music.

4.

An

explanationofthe

division

and organization ofthe orchestra.

5. A

section

featuring

a specific

instrument

ofthe orchestra.

Material

here

includes

theparticular

function

ofthe

instrument;

its

history,

how

it is

constructed,

a

description

of

its

sound,

and

how

it is

played.

6.

A

project that allows parent and child together to

build

theirown

instrument using

instructions

and suggested or

improvised

materials.

This

Goals

and

Objectives

The

thesis

project,

Music

&

the

Creative

Imagination

will serve as aprototype

for

a

complete

interactive

product

line

available on a

monthly

basis

thatenhances the

educational environment and creates alternative means of

educating

a

broad

and

non-specific age group.

This

product

line

conducts

lessons

onthe

Macintosh

com puter via an

instructional

and

sensory format

contained

both

in

a multimedia presen

tation that

includes

an

interactive

program,

and a printed magazine.

Children

and

theirparentswill

be

able to

enjoy both

products

individually

and/ortogether.

This

will strengthen

bonds,

develop

a

strong

understanding

of materials

presented,

and

Chapter Two

Development

In

considering

the two

individual

units ofthis thesis

project,

establishing

consistency

became

a

priority

of

successfully

implementing

thisproduct

line.

The

following

issues

to

be

resolved,

and methods used

in

the

development

oftheproject were

established:

1. Research

2.

Selection

of content

Determining

size of eachpartofthe thesis

3.

Design

Consistency

of overall appearance

for both

magazine and

interactive

program.

Structural

format for

interactive interface

Navigation

Design

ofnavigationalelements

User

related

issues

4. Technical

considerations

Computer

hardware

andsoftware to

be

used

for

production of

final

prototype

for

presentation.

Research

Beginning

with

research,

it

became

evidentthatselectionof materialsto

be included

in

the

finished

productwould

be determined

by

reviewing

reading

matter,

audio

aids, recordings,

andvideosaboutmusic and the

symphony

orchestra.

Selection

of

Content

The initial

research

completed,

I

made

my

selection ofmusical

topics,

composer,

conductor,

featured

instrument,

anda special userproject

based

on what range of

information

would

be

important

without

becoming

toogeneral while

providing

a

powerful

learning

tool.

Each

subject was chosen

specifically

with the

hopes

that

enoughtoallowusersa

feeling

of comfort while

they

also exploredavenuesof

learn

ing

onthe computerthatar experiencedas new or

intimidating.

Knowing

thatthiswas a

prototype,

and not a

full blown

interactive

program,

a par

ing

down

process occurred.

It

was

decided

thatthe magazine and the

interactive

program would containthe same

articles,

but

would

vary

asto the

length

ofthe

sections.

I

determined

that therewould

be

six

sections,

or chapters

in

all.

These included:

1.

Music

&

the

Creative

Imagination

An introduction.

2 Historical Notes

The

history

ofthe

symphony

orchestra.

3.

Leonard Bernstein

Selected for

his

importance both

as a conductorand

composer,

and

his

stature

in

the

American

musical

arena,

this sectiongives the readersome essential

background

onthe

life

ofthe great conductor/composer.

4.

The Four Sections

An

explanationofthe

four

groups ofmusical

instruments

thatcomplete

the

symphony

orchestra,

how they

are

constructed,

and

why

they

are

grouped together.

5. The Slide Trombone

An

introduction

and explanation to theslide

trombone,

its

history,

constructionandparticularcharacteristics.

6.

The Great

Brooklyn Tooter

The

first monthly

musicalproject

for

thepremiere

issue

oftheprototype

application

features

a

hand

made

instrument

based

onthe trombone.

The

studentwill

be

ableto

grasp

the nature ofthe

brass

horn,

and gain a

deeper,

morepersonal

understanding

of music

by

constructing

a paper

horn

of theirown.

The decision

assigning

actual physicalsizewas

based

on theories

relating

to

how

much

reading

should

be

presented onacomputer

screen,

and

setting

realistic

limita

tions

on

how

many

pagesapublishers

budget

might allowwhen

dealing

with the

printing

ofa

full

color magazine.

Chapter Three

Design

Music

&

the

Creative Imagination is both

an

investigation into

therealm of

interactive

and multimedia

design,

and an exploration

in

the

development

of acompatibleprod

uct

line for

publication

consisting

of an

interactive

educationalcomputer

program,

and a

full

color printedmagazine.

In

establishing design

criteria,

objectives and

parameters,

the

first

major

decision is

targetaudience.

Because

thisproject

is

meantto

be

an

educational,

aswellas enter

taining

program,

allconsiderations

pertaining

toaudience

age,

background,

educa

tion,

and

location

were weighed

before

making

final design decisions.

The

entire

package,

directly

aimed at a parent/child audience

clearly indicated

that

therange of

individuals included

those

between

threeyears and older.

Simply

speak

ing,

identifying

a specific agewas

impossible.

All

reading

material,

andvisual matter

had

to

be designed

toappeal toa non-specific age group.

Determining

the size of each part of the project relied

heavily

on available

budget

and

equipment,

method of

production,

and

time. Issues

pertinentto theproduction

of a magazine were

far different

than an

interactive

program.

Consistency

of

layout

was

important

for

recognitionpurposes when

dealing

with an overall

look for

the

thesisproject.

Design

layout

and

format

would

determine

thephysical

size,

aswellas

thepage

size,

aswellas thecomputer screensize

for

presentationpurposes.

In

determining

anoverall

appearance,

I

decided

toassigna

design format for

the

magazine

first,

which

I

would thentranslateto a screen

format for

the

interactive

piece.

This

would establish auniform

look

between

thepieces.

Music

&

the

Creative Imagination:

The

magazine

Reminder

advertising

is

themostpopularand successfulvehicle toassure audience

recognitionof aspecific product.

The look

consists of

strong

graphic

treatment,

and

is

so successful

because

thepublicat

large

seemsto

do best

with

strong

visual

images

thatmake a

lasting

impression.

Employing

_{this technique}would guarantee that the

user would

be

able to make a morecomfortable transition

between

the

interactive

program onthe

Macintosh,

and

reading

themagazinewhen

seeking further

infor

mationaboutthematerialpresentedon screen.

I

was

determined

to

build

in

a

famil

iarity

thatwould equalize theusage of

both

products,

thereby

building

in

user

dependence

on

both

pieces.

In

determining

theamount of

time

therewas to completethe magazine

from

layout

through toa

finished

printed

piece,

several

items

wereexamined.

The

budget

avail

able was

established,

the cost of

printing

techniqueswas

considered,

andthe amount

of material

I

wanted to

include

was

decided

upon.

I

decided

to

design

a

twenty

page

magazinethat

included

thecover.

The

physical size ofthe

magazine,

based

on a

hor

izontal

orientation,

became

nine

inches

deep

by

twelve

inches

wide.

It is

my

feeling

that thissize

best fits

across the

lap

of a

parent,

oradult

reading

to a

child,

andthe

magazine

is

specifically designed

withthatpurpose

in

mind.

Of

allthe positions

I

have

observed

watching

adults

reading

to

youngsters,

thepose mostoften seen

is

one where theadult

is

seated

upright,

and thechild

is

leaning

against their side peer

ing intently

into

the

book

ontheir

lap.

Before entering

the

layout

stage,

I

began

toresearch children's publications.

This

helped

me

decide how

I

wished torepresentwrittenandvisual

information. The

concept ofthe

symphony

orchestra

is

a sophisticated one

for

young

children,

and

I

realized that therewas a

strong

chance thatsomeoftheadults

viewing

this

informa

tion

may

not

be

allthat

familiar

with

it

either.

It

was

necessary

to

implement

a

strong, clean,

playfulvisual

style,

while

writing

clear andconcise articlesthat

did

not

talk

down

toeither age group.

Dissecting

thevisual elements thatcontribute tothe

design

of a

beautiful

and well

constructed

page,

I

began

the

layout

process.

A

grid system

breaking

thepage

into

threecolumns was

devised.

As I

wanted to

include

headlines,

body

text,

pho

tographs,

and

illustrations,

three columns oftype allowed me thevisual order and

flexibility

I

was

looking

for.

The

purpose ofthis thesisproject

is

twopart.

The first

is

to explore new

technology,

and thesecond

is

to

investigate

new or

different

design

techniques andproduction

methods.

While setting

a style

for

this

project,

intent

on a new

investigation,

I

chose

toselect certain visual elements and use them

in

a

way I

never

had before.

Type,

being

thearea where

I

am most

rigid,

became

the

first design

element addressed.

Formerly,

a purist at

heart,

I

frowned

on

mixing

typestyles.

Rarely

did

I

manipulate

type,

believing

it

should

be

usedthe

way it

was

designed

by

its

creator.

Leaving

all

that

behind,

I

electedto

feature

the article

headlines

as the

key

graphic element on

the

page,

and

build

graphic elements/figures

into

or around thetype thatwere

appropriate to thesection

headlines

to createvisual

interest,

and representeachsec

tion

by

visualmeans.

Avant

Garde

Demi

was selected

for

the

headlines,

and

Janson

text

for

the

body

text.

Both

are

easy

reading

type

faces,

and

I

was

looking

for

a certain amount of

elegance,

legibility,

and

funk.

Because

the topic

I

was

dealing

with was

music,

I

wanted the

type to

convey

a

feeling

of

rhythm,

grace and movement.

The

headline

typewas manipulated and assignedcolor

in Adobe Illustrator. The

colorwasset

using

a

Cyan,

Magenta, Yellow,

Black

system,

based

onthe method of

output

I

had

selected.

For printing

andpresentation

purposes,

the

Canon

CLC500

was selected.

A high

quality,

high

resolution color

laserprinter,

theoutput was ofthe

highest

quality for

textand

halftones

available.

When

finally

satisfied withthe

headline

treatment,

I

selected photographs that

would

best

illustrate

the articlesthatappeared

in

thepublication.

Next I

chose spot

illustrations

from

oldengravings thatadded a new texture to the

look

ofthe maga

zine

These

illustrations

would work

in

concertwiththe

headline

and

body

text to

form

new shapes ontheprintedpage.

In

this

way

a more playful

look

would

be

achieved.

Seeking

more

dimensionality

and

texture,

a

background

pattern was

designed

togive thepagethe added

depth it

lacked.

Production

Methods

Most important

to thesuccessful completionoftheprinted piece

is

the thorough

examination of

color,

resolution and output.

By

determining

themethod ofoutput

first,

after

nailing down time frame

and

budget,

the

"now

you tell

me,"

schoolof

computer

design is easily

avoided.

The

type of machine

being

used

for

printing

the

magazine

influenced

thecreation of all

finished

artwork.

Selecting

the

Canon

CLC500

color

laserprinter

toproduce color output obligated me tomake color

assignments

using

cyan,

magenta,

yellow and

black.

Through

thorough

testing

I

quickly learned

thatcolor

consistency

is

a

figment

ofthe

imagination,

and

is

dictated

by

whenthe tonerwas

last

changed,

or addedto theprinter.

Testing

color results

before

going into full

scale production

indicated

thatwhat you

see onthe screenwithregard to color

is

not what you getwhen

outputting

an

image.

I

highly

recommend thatwhen

working in

color,

the artistassign color

by

making

selections

from

a

CMYK

selection

book

and

assigning

numerical values.

Selecting

color

by

visualmeans

is inadvisable.

The

method ofoutput also

determines

resolutionandscreen

frequency.

Knowing

this

information

atthe outset

is necessary

when

dealing

with

halftone

images.

The

screen

frequency

determines how

many

pixels per

inch

halftone

images

are scanned

at.

Though

the

Canon

CLC

was

being

used

for

presentation

purposes,

I

was

inter

ested

in

comparing

several

forms

of

output,

and optedtoalso produce chromalins at

a screen

frequency

of one

hundred

and

fifty

lines

per

inch.

Using

the

Nyquist

Criterion

tocalculate

my

sampling

rate,

it

became

necessary

to scan

images

atthree

hundred

pixelsper

inch,

whichmade the

files

quite

large.

All

halftone

images

werescanned onan

Agfa flatbed

scanner,

brought

into

Adobe

Photoshop,

andwere enhanced, andadjusted toassure thatall

levels

weresufficient

toproduce the

highest

quality

output.

Specific

engravingswere selected

for

type

runarounds,

andsilhouetted.

All images

were storedas

Tiff

format files.

Quark

Xpress,

the

layout

program

I

choseto

use,

had

a problem

showing

trans

parency

through an

image

that

had

an enclosed space

(i,e.

a

figure standing

with

hand

on

hip;

the areawithin thearmwould constitute the enclosed space

I

mention).

Several

of the

backgrounds

that

involved

eitherthe

title

type or

body

text

wrapping

aroundan

image,

or

running

over an

image,

had

to

be built

as oneunit

in

Photoshop.

This

required

accuracy

when

placing

the

images

onthe

background,

as

this

was

something

thatwas not

easily

undone.

Trying

to solve theproblem

by

meansof

questioning

_expert

users,

reading

the

manual,

and

contacting Quark

tech

nicalsupport

led

me to theconclusionthatas

yet,

there

is

nosolution other thanto

proceed

in

the manner

in

which

I

did,

though

it

was

time

consuming.

Once

the

images

were

prepared,

both

type and

images

were

imported into Quark

Xpress,

andthe magazine was

styled, completed,

and output on the

Canon

printer.

Several

versions ofthemagazine were then printed.

Because

of

inaccuracies between

the monitor

calibration,

and printer

calibration,

the

grey

tones

in

the

halftones had

to

be

adjusted several

times

before

aversionwasprinted thatwas whatthisauthor

considered acceptable.

Music

&

the

Creative Imagination-. The Interactive Program

Interactive

programs

have

afforded the

designer

much

in

the

way

of

investigating

new

design

techniques,

issues,

and challenges.

The

breadth

andwidth of possibilities

is

at once

alarming

and exciting.

For

the

designer

with a theatrical

leaning,

andthe

audience who enjoys

participation,

interactive

programs are perfect

for incorporat

ing

mixed media

into

an

entertaining

or educational

format.

The

primary

objective ofthe

interactive

portionofthis thesisproject

deals

withthe

designing

and

easily

understood user

interface

withinan application thatserves to

introduce

adults andchildren to theclassical

symphony

orchestra.

The

programuses

sound, photographs,

type,

and

QuickTime

movies to

illustrate

how

the orchestra

and all

its

parts

function.

The

purpose ofthisportion ofthe thesisprototype

is

to exploreways of

providing

an alternate

forum

for

education,

and allowtheusermore control and_{more choice.}

Music

andthe

Imagination

can

be

viewed on

any Apple

Macintosh

II

series or

higher

with aminimumof

5

megabytesof

ram,

and sound capabilities.

Because

an

Aldus

SuperCard

applicationcan

be

constructed as a stand aloneprogramthatalso

imports

a

font

as a

resource,

theusercan

enjoy

it in

the

privacy

of their

home

or

in

an

insti

tutional

setting,

without

having

to purchase

Aldus SuperCard

oranewtype

font.

Because

thisprogram

is

thesecond

half

of a twopart

design

packagecertain

key

issues;

target

audience,

content,

and graphic

style,

have

already been

solved.

What

remains to

be

settled are the

factors

thatgive thestudentor usera

desire

orreason

to

begin

theapplication

in

the

first

place;

allows theman

easy

understanding

ofthe

material

included

while

providing

a

comfortable,

logical

way

of

navigating

through

theapplication

giving

over as much control as

is

possible.

Unlike

advertising,

or editorial

design,

there

is

no

formula

thatassures success.

Interactive

education

is

stillso

new,

that all

interface

designers

are

faced

with the

same

problem;

whatworks

efficiently

and

comprehensively for

theuser?

I

selected

Aldus

SuperCard

asthe

interactive

software programto

use,

as

it

has far

more

power,

and

many

more optionsthan

Claris HyperCard. Graphic items

suchas

pictures,

and sounds

import

directly

into

the

program,

and

it

has

a color palette

available.

It is

also easierto work withtype

in

SuperCard,

and

has

amore sophisti

cated means of

building

graphics.

SuperCard easily

accepts

QuickTime

format

movies,

and sound that

has been

recorded

in

stereo.

In

designing

the type ofuser

interface

for

Music

&

the

Creative Imagination

I

made

theassumptionthat theuserwas

familiar

with,

or capable of

learning

computer

basics;

using

a

mouse, clicking,

and

holding

down

the mouse while clicking.

Organization

is

amajor

factor in

designing

forms

of navigationthatassist rather

than confuse theuser.

Considering

theage range and

generality

of

my

targetaudi

ence,

simplicity

seemedawise choice.

Researching

and

viewing

otherapplications

made me

wary

of

including

an over abundance ofchoice and too much material

for

theusertoabsorb.

What

became

obvious wasthat the

user,

in

choosing

an

interac

tiveprogram

desired involvement

and participation.

Basic

screensize should

be

as

large

as

possible,

making

viewing

comfortable

for

the

user.

Besides

the

inclusion

of graphic elements thatenhance thevisual appearanceof

the

application,

_{the elements thatrepresent the means}

by

whichtheuser navigates

should

be

immediately

visible and obvious without an excess of verbiage.

The

screen size

for Music &

the

Creative

Imagination

was set at

640

by

480. This

was

the

full

size ofthemonitor

it

would

be

viewed on.

Since I

had

already

designed

the

companion

magazine,

allthe elements were

complete,

whichnecessitated amini

mumofconstruction since

my intention

wasto remain as true to the magazine style

as was possible.

It

did,

however become necessary

togo

back into Adobe

Photoshop

and resize the

background

to

fit

themonitor

size,

copy

the photographic

images

and

convert themto seventy-two

dots

per

inch,

convert the

Tiff

files into Pict

files

tocut

down

on

memory

size,

allowing

Supercard

toaccept them as resources.

Besides

thegraphicsthat

had

already

been

constructed,

and thephoto

images

that

had been

retouched,

manipulated and

adjusted,

threenew cards

had

to

be designed

and produced.

They

were;

an

introduction

card,

a main

menu,

and the

finale

card.

In

designing

a system of

movement,

I

optedto

build

in

randommovement around

the

application,

so that theuser

has

freedom,

and regardless of which

way

they

chose

to

navigate,

there are no

incorrect

directions,

orout-of-ordersequences.

Selecting

thesame topics

for

explo

ration as

in

the

magazine,

theusercould

enjoy

sections;

1.

The

Introduction

Explains

the

relationship

between

music and the

imagination,

and

gives

instructions

on

how

tonavigate.

2.

The Main

Menu

Lists

thecategories theusercould

investigate

3. Leonard Bernstein

This

section

discusses his

talents,

explains therole oftheconductor

while

playing

several of

his

compositions

in

the

background.

4. The

Orchestra

and its

Sections

Describes

thevarious sections while

playing

sounds that

define

each

section,

QuickTime

movies that

illustrate

selected members of each

section,

and

how they

areplayed.

5.The Slide Trombone

(the

featured

instrument)

Describes

the

trombone,

while

playing

trombonemusic

in

the

back

ground.

Included is

a

QuickTime

movie of a tromboneplayer

illus

trating

how

it is

played andwhat

it

sounds

like,

and offersthe

user,

via

a mouse activated

button

the option of

playing

the scale and

seeing

what each note

looks like.

6.

The Great

Brooklyn

Tooter

A

projectwhich

instructs

theuseronthe construction of a

homemade

instrument

based

onthe

featured

instrument

ofthemonth.

Mouse

activated

buttons

were

designed

thatwouldmake

navigating

thestackapain

less

experience.

Each button

wasassigned theauto

highlight feature

so that theuser

could seethatan action

had been

taken,

and some typeof event would occur.

Since

therewasso much

activity already

included in

the

application;

photographs

music,

readable

text,

and

QuickTime

movies,

simplicity

again seemed thewisest choice.

Navigation

buttons

were

designed

to

be

visually

pleasing,

simple rectanglesthatwere

labeled

withthe appropriate

directional

words orsymbol.

Though

theargument

might

be

made that

because

a portionof

my

audience

does

not possess the

ability

to

read,

I

felt

thatno parentwouldexpect or allow such a

young

child to operate an

expensive piece ofequipment

unsupervised,

andthat

generally

a parent or

instructor

would also

be

inclined

to teachthe child torecognize each

symbol,

andtranslate a

word

like

"click"

so that thechild

readily

understood

its

meaning.

New

to this

designer

wasthe

ability

to

include

sound

in

a presentationpiece.

One

of

the major

investigations

ofthe

interactive

part ofthisproject was

working

with

digital

sound.

Budget,

and

lack

of specific equipment ruled outthe

investigation

of

MIDI

systems,

and

I

mademyself contentwith

learning

touse the

Mac

asa

digital

recording

studio.

Music

appropriate to each

category

was

selected,

and researchwas

done

to

determine

_{the means}

by

whichto

include

music

into

thestackwith the

high

est

degree

ofquality.

Both

the

MacRecorder

_{and a}

CD

Rom

playerwere available

for

use.

The

MacRecorder,

a

recording device

that

digitizes

sound

enabling

the use ofmusicona

computer,

andthe

CD

Rom,

whichretrieves stored sound

from

acompact

disc,

and

imports

it

in

digital form

into

thecomputer, offeredthemechanical meansof

recording

and or

importing

sound

into

the

computer,

while

SoundEdit

Pro is

the

software used that enablesthesound

designer

the

ability

to

design,

manipulate,

and

prepare sounds

for

use

in

a multimedia production.

Working

in

SoundEdit

Pro is

much

like

working in

a simplistic

recording

studio.

Once

the sound

is

recorded,

options existthatallowthe

designer

to

apply

special

effects, cut, paste, copy, mix,

and

design

soundtracks much

like

a sound engineer.

The designer

also

has

the option of

selecting

the

quality

ofsound

desired

by

specify

ing

thenumberof

kilohertz

sampled per

second,

with one minuteofsound

equaling

one megabyte of stored memory.

The higher

the

quality

desired,

the

higher

thestor

agerequirements are.

To

further

enhance tonal

quality,

theuse ofstereo speakers

produced marvelous

quality

and volume.

Designing

an

interactive

stackthat

introduces

theuser to classical music

demands

theuse of

high

quality

sound.

Having

two

MacRecorders

available

for

use made

it

possible to record music

in

stereo,

though

it

forced

the

recording

of sound

bits

at

22

kilohertz

per

second,

adding

a great

deal

to

memory

storage.

Complimenting

sound,

QuickTime

movies wereadded to

further illustrate

the

instruments

ofthe orchestra.

Scripting

for

Quicktime is

an adventurous affair.

At

times I

could not

predict,

scripting

that

had

onceoperated

perfectly

would not

do

so

again.

After

days

of

rewriting

scripts with

inconsistent

results,

I

discovered

that

software

incompatibility

attheroot oftheproblem.

It

seemsthatcertainextensions,

or

inits in

an

operating

system cause problemswhen

using

Aldus

SuperCard.

In

this

instance,

theculprit was

Disk

Light,

a part of

Symantec's

Norton Utilities.

This

being

so,

theusermust

keep

trackof new additionsto the

operating

systemof the

computer.

Chapter

Four

Evaluation

and

Conclusion

Evaluation

Having

completed the thesis

project,

I

have found

that thereare still areasofthe

presentation thatcan

be greatly improved

on.

Examining

the production

realistically,

no more could

have been done

giventhe

time

schedule thatexisted.

An

ambitious

project

in

nature,

either part on

its

own;

the magazine orthe

interactive

application,

would

have

comprised a singlethesis topic.

There

are severalthings

I

would add

given a realistic

time

schedule.

The first

ofthe additions

I

would make would

be

toaddan animation created

in

MacroMind

Director

onthe

front

end ofthe

interactive

application

instead

ofthe

existing opening

sequence

designed

in

SuperCard.

Moving

from image

to

image

by

meansofscreen

dissolves

is

rather slow and awkward.

When viewing

the

kind

of ani

mationtechniqueand movement

MacroMind

Director

is

capable

of,

my

choice

would

be different

in

the

future. MacroMind

also offers two sound channels that

would

really broaden

and enrich the

quality

and

variety

of sound and sound effects

containedwithin an application.

Exposing

theuserto sound and music onthecomputer

is

an

exciting

experience,

and

in

viewing

theprojectafter

completion,

the

idea for

an additional sectionoccurred.

Eventually,

I

would

like

to

include

anew sectionon sound.

As

music

is

born from

sound,

and the application

is

concernedwith the

basic

education of

music,

it

would

enhance the application

greatly

to

build

in

aprogram thatwould allowtheuser to

create their own

sounds,

and write their own music.

This

would

be

accomplished

by

providing

theuser witha

limited

library

of sounds and a range of musicalnotes to

manipulate.

While viewing

the screen

design,

it

occurredtome that

graphically,

therewas a

lack

of

humor,

and musical

iconography. In

trying

topresentawell

ordered,

and uncom

plicated system

for navigating

throughthe

stack,

I

had

overlooked the

inclusion

of

musicalgraphic

elements,

_mixedwithmomentsof

humor.

With

these newgraphic

elements, I

would

include

more

interactivity

and

interplay

between

applicationand

user.

An

exampleofthiswould

be

navigation

buttons

that

sang

opera,

or played a

scale;

should the user select an

incorrect

button,

the computerwould respond witha

sour note.

The last function

I

would

like

to add

is

a

"PRINT"

function. Though

aprintversion

of_{the projectpage exists}

in

_the

magazine,

some of thepotential projectscan get

messy,

and

in

saving

themagazine

from

becoming

damaged,

the

ability

toprintout a

copy

would

benefit

theuser.

Conclusion

Music is

oneofthe most profound experiences wewillever

have,

and the

symphony

orchestra

is

themost

fitting

subjectmatter

for

thisproject.

Providing

mewith the

most perfect and

exciting

material

for

a

learning

program,

thestructure ofthe

orchestra

itself

is

one that

lends

itself

to the concept of a

layered

learning

experience,

one that thestudent absorbs and understands at

different levels.

Through

a shared

learning

experience,

parents and children can

enjoy

thisprogram

together,

thereby

enriching

their

relationship

as well.

My

fears

regarding

the

inhumanity

ofthe computer

have been only

somewhat allevi

ated.

By designing

an applicationthat

includes

parental or adult aid

for

the child

in

a

pleasurable

endeavor,

I

see where the

author,

sensitive to this

issue,

can circumvent

computer

instigated isolation.

But

not all applicationswill

be designed

withthe

nature and

quality

of

human

relationships

in

mind,

and as more programs are

designed

to

keep

us glued to the terminal and outofthe

playground,

I

still wonder

whatthe

future

holds for

human

to

human

interaction.

With

this

investigation

into

therealmofthe computer and education via

both

print

design

and output

methods,

and the

design

ofan

interactive

multimedia

application,

I

am convinced although theuseof computer

may

changethe nature ofthe

exchange of

information,

printed

forms

of communication are

far from

extinct.

Complementing

each

other,

theuse of

both

print,

and

interactive

multimediapro

ductions

_{create the potential}

for

_the

designer

_to

devise

_{some ofthemost}

inventive,

entertaining,

and

edifying

_{educational curriculum we}

have

seen.

Endnotes

1.

Anthony

Storr,

"Music

_andtheMind,"

The Free

Press,

New

York, 1992,

p.37

2.

Ibid,

pp.62

3.Henry

Rayner,"

The Orchestra:

A

History,"

Charles

Scribner's

Sons, 1978,

p.42

Bibliography

Books And Magazines

Braxes,

Gregory

A

Digital

Image

Processing. Colorado:

Cascade

Press,

1984.

Berger,

melvtn.

The Photo Dictionary

of the

Orchestra.

New

York:

Penguin

Press,

1980.

HeidJim. "Sound

Advice."

MacWorld,

March

1993,

pp.

118-123.

Martin,

James A. "Top 10 CD

Roms."

MacWorld,

March

1993,

pp.

98-105.

Posell, Elsa,

Z.

This

Is

An

Orchestra.

Boston: Houghton

Mifflfn

Company,

1973.

Rafferty,

Sadie

and

Rossi,

Nick. Music Through

the

Centuries.

New

York

Bruce Humphries

Publisher,

1963.

Raynor,

Henry. The

Orchestra:

A

History.

New York: Charles

Scribner's

Sons,

1978.

Storr,

Anthony.

Music

andthe

Mind.

New

York: The Free

Press,

1992.

Digital

Color Prepress. Agfa

Corporation,

1991.

HyperCard Stack Design

Guidelines.

Apple Computer

Inc.,

1989.

MacRecorder User's Guide. Farallon

Computing,

1990.

Software

Adobe

Photoshop. Adobe

Systems

Inc., Mountainview,

California.

Quark Xpress.

Quark,

Inc.,

QuickTime. Apple

Computer, Inc., Cupertino,

California.

SoundEdit.

Farallon

Computing,

Inc., Emeryville,

California.

SuperCard.

Silicon

Beach

Software, Inc.,

San

Diego,

California.

Hardware

Apple

Macintosh

n FX

Nec

CD

Rom

macrecorder

MacSpeakerMS-1

Appendix A

The SuperCard

Application

Music &

The

Creative

Imagination

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Appendix C

Scripts

1.

Project Script

on

startup

ed

i tor

hide

menubar

end

startup

2.Go

to

"Main

Menu"

Script

on

mouseUp

visual wipe

left very

slow

go

to

card

"The

Menu"

end

mouseUp

3.

Go To

"Next"

Script

on

mouseUp

visual wipe

left

slow

go next

end

mouseUp

4. Go To Last Card

on

mouseUp

visual wipe

left

slow go previous

end

mouseUp

5. Quit

on

mouseUp

go

to

card

"Remember'

wa

i t 2

sec

domenu

"qui

t"

end _mouseUp

6. Scripts

for opening sequenceappears on card script ofintroduction

card and

Audience

card

on openCard

wa

i t 3

sec

visual effect Venetian blinds

very

slow

go next

9.

Play

The

Trombone

_:

Plays

the

sound

of

the

trombone

while

_{showing the notes of the}

Cmajor scale,

and

immediately

hides

the scale when the last note is

played.

on

mouseUp

show card graphic

wa

i t

5

t

icks

play

TRUMPET

show cd graphic wait

10

show cd graphic

wait

10

show cd graph

i

c

wa

i t 85

show cd graphic wa

i t 85

show cd graphic

wait

10

show cd graphic

wai

t

85

show cd graphic wa

i t 75

show cd graphic wait

10

show cd graph

i

c

wa

i t 75

show cd graphic wait

10

show cd graphic wa

i t 75

show cd graph

i

c

'cover"

at

320,

240

wai

t

show wai

t

show wai

t

show wai

t

show wai

t

wai

t

10

cd graphic

75

cd graphic

10

cd graphic

75 cd graphic

10

75

cee' noc "d' 'nod" noe nof "

nog

noa nob' high cee' noce

lock

screen

hide

cd graphic

"cee'

hide

cd graphic

"noc'

hide

cd graphic

"d"

hide cd graphic

"nod'

hide cd graphic

"e"

hide cd graphic

"noe'

hide

cd graphic

"f"

hide cd graphic "g"

hide cd graphic "nog"

h i de

cd graph

i

c

" a

"

hide

cd graphic "noa"

hide

cd graphic "b"

hide

cd graphic "nob"

hide

cd graphic

"high

cee"

hide

cd graphic

"noce"

unlock screen

end _mouseUp

10. Show Buttons:

A/This

menu shows the recipe for paper mache

on mouseUp

hide cd field "On

Proj

"

show cd field "paper" at

299,

301

show cd field "Paper2" at

365,

305

end mouseUp

on closeCard

hide cd field

"paper"

hide

cd

field

"paper2"

end closeCard

B. This

menushowstheinformationon theproject again

on mouseUp

show cd

field

"on

proj"

at

259,

272

hide card field

"Paper"

hide card field

"Paper2"

end mouseUp

on close

hide cd field "on

proj"

7.

"Go

To"

Scripts: These

are simple scripts tonavigate aroundthe

project

on

mouseUp

visual wipe

left very

slow

go

to

cd

"Conductor

intro"

end

mouseUp

on

mouseUp

visual wipe

left very

slow

go

to

cd

"Orchestra

intro" end

mouseUp

on mouseUp

visual wipe left very slow go

to

cd "Trombone

intro"

end mouseUp

on mouseUp

visual wipe left very slow go

to

cd

"Project"

end _mouseUp

8. QuickTime

Scripts

for musicalanimation segments

on mouseUp

g

IobaI Mov

i

eI D

QTMovie

Openmovie, direct,

"

I

:bassoon/bass. QT"

put the result

into

MovielD

if MovielD

is

not

empty

then

QTMovie

direct,

MovielD,

play

end

i f

QTMov

ie Mov

i

eI D,

direct,

"

I :bassoon /bass.QT " , push card

pop

card end _mouseUp

"225,

150"

,

CI

oseonF

i

n

i

sh

dispose

:percussion/perc.QT "

,

"

225, 1 60

"

, CIoseonFinis

on

mouseUp

global MovielD

QTMov

i

e Openmov

i

e,

d i

rec

t

, "I

put the result into MovielD

if

MovielD

is

not _empty then

QTMovie

direct,

MovielD,

play

end

i f

QTMovie

MovielD,

direct,

"

I

:percussion/perc.QT", dispose

push card

pop card end mouseUp

on mouseUp

QTMovie

Openmovie,

direct,

"

I

:strings/st.QT",

"225,160",

C I

oseonF

i

n

i

sh

put the result into MovielD

if

MovielD

is

not empty then QTMovie

direct,

MovielD,

play

QTMovie

MovielD,

direct,

"

I

:strings/st. QT

|,

dispose

push card

pop card