A Corpus-assisted Discourse Analysis of Chiptune-related Practices Discussed within Chipmusic.org

This study examined 245,098 discussion forum posts within a website dedicated to chiptunes, which are electronic music compositions or performances either emulating the sounds of or created through early computer and video game sound chips. Corpus-assisted discourse analysis tools and techniques assisted with revealing patterns of discourse across 10,892,645 words written between December 30th, 2009 and November 13th, 2017 within chipmusic.org.

Findings indicate seven interconnected themes of chiptune-related practices that demonstrate potential transdisciplinary connections between computer science education and music education: (a) music composition practices, (b) music performance practices, (c) maker practices, (d) coding practices, (e) entrepreneurial practices, (f) visual art practices, and (g) community practices.

Members of chipmusic.org engaged in computer science practices such as designing, manufacturing, and modifying electronic hardware for performing and recording chiptunes, as well as coding practices such as creating or modifying software for chiptune-related purposes. Such practices were guided by an interest in making music through old computer and video game hardware, and demonstrate several potential connections between computer science education and music education. For example, members engaged in computer science practices such as hardware and software modification to enable the ability to compose and perform music through the Nintendo Game Boy.

Findings from this study not only demonstrate potential connections between computer science education and music education, they also raise questions about spaces and curricula with blurred disciplinary boundaries. For example, where might chiptune-related practices that blur concepts and practices from a multitude of disciplines and standards occur within a formalized education environment?

Research poster

Conference abstract

Links To The Dissertation:

Academia.edu

Direct Link (free and no membership required)

Google Scholar

ProQuest Dissertations & Theses Global

ResearchGate

Dissertation Citation Information:

O'Leary, J. D. (2018). A corpus-assisted discourse analysis of music-related practices discussed within chipmusic.org (Order No. 10979369). Available from ProQuest Dissertations & Theses Global. (2154870828). Retrieved from https://search.proquest.com/docview/2154870828

Chiptune Examples

Unfamiliar with the sound of chiptunes? Watch/listen to one of these playlists for some retro goodness:

Poster Citations:

  1. Aaron, A. S., Blackwell, A. F., & Burnard, P. (2010). The development of Sonic Pi and its use in educational partnerships: Co-creating pedagogies for learning computer programming. Journal of Music, Technology & Education, 9(1), 75–94.

  2. Brunvand, E., & McCurdy, N. (2017). Making noise: Using sound-art to explore technological fluency. SIGCSE 2017 - Proceedings of the 48th ACM Technical Symposium on Computer Science Education, 87–92.

  3. Carlsson, A. (2010). Power Users and Retro Puppets: A Critical Study of the Methods and Motivations in Chipmusic. Lund University.

  4. Collins, K. (2013). Playing with Sound: A Theory of Interacting with Sound and Music in Video Games. Cambridge: The MIT Press.

  5. Collins, N. (2009). Handmade Electronic Music: The Art of Hardware Hacking (2nd ed.). New York: Routledge.

  6. Collins, N. (2011). Live coding of consequence. Leonardo, 44(3), 207–211.

  7. Collins, N. (2016). Live coding and teaching SuperCollider. Journal of Music, Technology & Education, 9(1), 5–16.

  8. Flood, L. (2016). Building and Becoming: DIY Music Technology in New York and Berlin. Columbia University.

  9. Greher, G. R., & Heines, J. M. (2014). Computational Thinking in Sound: Teaching the Art and Science of Music and Technology. Oxford: Oxford University Press.

  10. Heines, J. M., Greher, G. R., Ruthmann, S. A., & Reilly, B. L. (2011). Two approaches to interdisciplinary computing + music courses. IEEE Computer, 44(12), 25–32.

  11. Jo, K., Parkinson, A., & Tanaka, A. (2013). Workshopping participation in music. Organised Sound, 18(3), 282–291.

  12. Lysloff, R. T. A. (2003). Musical life in Softcity: An internet ethnography. In R. T. A. Lysloff & L. C. Gay Jr (Eds.), Music and Technoculture (pp. 23–63). Middletown: Wesleyan University Press.

  13. Magerko, B., Freeman, J., McKlin, T., McCoid, S., Jenkins, T., & Livingston, E. (2013). Tackling engagement in computing with computational music remixing. Proceeding of the 44th ACM Technical Symposium on Computer Science Education - SIGCSE ’13, 657.

  14. Magnusson, T. (2014). Herding cats: Observing live coding in the wild. Computer Music Journal, 38(1), 8–16.

  15. Magnusson, T. (2014). Scoring with code: Composing with algorithmic notation. Organised Sound, 19(03), 268–275.

  16. Manaris, B., Stevens, B., & Brown, A. R. (2016). JythonMusic: An environment for teaching algorithmic music composition, dynamic coding and musical performativity. Journal of Music, Technology & Education, 9(1), 33–56.

  17. McLean, A. (2014). Making programming languages to dance to: Live coding with Tidal. Proceedings of the 2014 ACM SIGPLAN International Workshop on Functional Art, Music, Modelling and Design.

  18. Ogborn, D. (2016). Live coding together: Three potentials of collective live coding. Journal of Music, Technology & Education, 9(1), 17–32.

  19. Pasdzierny, M. (2013). Geeks on stage? Investigations in the world of (live) chipmusic. In P. Moormann (Ed.), Music and Game: Perspectives on a Popular Alliance (Kindle). Berlin: Springer VS.

  20. Paul, L. J. (2014). For the love of chiptune. In K. Collins, B. Kapralos, & H. Tessler (Eds.), The Oxford Handbook of Interactive Audio (pp. 507–530). Oxford: Oxford University Press.

  21. Ratliff, B. (2007). Why did freely shared, tracked music in the 1990’s computer demoscene survive the arrival of the MP3 age?

  22. Rosenbaum, E. (2015). Explorations in Musical Tinkering. Massachusetts Institute of Technology.

  23. Ruthmann, S. A., & Heines, J. M. (2009). Designing music composing software with and for middle school students: A collaborative project among senior computer science and music education majors. In Association for Technology in Music Instruction (pp. 1–3).

  24. Ruthmann, A., Heines, J. M., Greher, G. R., Laidler, P., & Saulters II, C. (2010). Teaching computational thinking through musical live coding in scratch. SIGCSE ’10 Proceedings of the 41st ACM Technical Symposium on Computer Science Education, 351–355.

  25. Tonelli, C. (2014). The chiptuning of the world: Game Boys, imagined travel, and musical meaning. In S. Gopinath & J. Stanyek (Eds.), The Oxford Handbook of Mobile Music Studies, Volume 2 (pp. 402–426). New York: Oxford University Press.

  26. Wang, G., & Cook, P. R. (2004). On-the-fly programming: Using code as an expressive musical instrument. In 2004 International Conference on New Interfaces for Musical Expression (NIME).

  27. Yabsley, A. (2007). The sound of playing: A study into the music and culture of chiptunes. Interface.