Multidisciplinary Practicesīrahms and Crowley (2016) describe multidisciplinary practices as practices that "are drawn from or resemble certain disciplinary practices, but no one discipline or singular set of established disciplinary practices captures the essence of participation in the making community" (p. found makerspaces shared three unifying characteristics: learning is in and for the making (b) learning arrangements within makerspaces are diverse and (c) multidisciplinarity encourages engagement and innovation (pp. , magazines such as MAKE 9, and online communities or resource hubs such as DIY.org or. The prevalence of makerspaces in formal and informal learning spaces and the wider practices in maker culture continue to grow through events such as the White House's 2014 makerspace festival 2016 E. ![]() These spaces are often referred to as makerspaces: "places where groups and individuals of diverse 7 For example, performing with a Game Boy and multiple MIDI controllers: youtu.be/-hisdP3sM9M For example, a "gAtari" (youtu.be/S8e7g8kJIlo) or Commodore 64 bass guitar (youtu.be/_kDhpFaf4EY).Īges, genders, and backgrounds come together to 'make': to mess around at the crossroads and fringes of disciplines such as science, technology, engineering, art, and math". Makers often meet in physical spaces within libraries, schools, institutions, or organizations to make and collaborate (E. The ways people engage with chiptunes can be understood as a form of inquirybased learning with high priority on authorship, or what refer to as "making." Makers, according to, are people who participate in a space with diverse tools, materials, and processes problems and projects to work on through designs a member of a community on leadership and teaching roles as needed and creations and skills with a wider world. Instead, most chiptune-related scholarship explores chiptune culture, history, or music practices without consideration of educational practices or contexts. The prevalence of chiptune practices continues to grow both online and through in-person meetups or chiptune-focused events across the world however, few studies explore implications of such practices in education. Some people combine these practices to "cover" contemporary songs through chiptune aesthetics, 4 reimagine contemporary games with chiptune sound effects and music, 5 perform acoustic music with chiptunes, 6 perform live chiptunes with video game handhelds and MIDI controllers, 7 or create entirely new instruments with sound chips from a computer or video game console. ![]() Today, people engage with chiptunes through a wide variety of ways: music performance, computer and video game hardware modifications, software modifications and computer programming, traditional Western European classical composition practices, music production, electrical engineering, and art production 3. Eventually, practices expanded to include engagement through software emulating the technological constraints of early sound chips ). Initially, chiptune practices consisted of modifying hardware and software of 1970s and 1980s computer and video game sound chips to create music. for the Nintendo Entertainment System (NES), introduced in 1985, has background music and sound effects occurring simultaneously. 1 As computer and video game hardware advanced, so did music and sound capabilities. Due to hardware constraints, Pong has no background music or overlapping sounds. An early example of a video game with iconic chiptune sounds and hardware limitations is Pong, which debuted in 1972. Such hardware limitations "shaped the sound of early video game music by way of the affordances they offered and the constraints that they imposed", "The aesthetics of constraint?," para. Many of the early sound chips utilized a limited number of audio channels dedicated to sine, square (pulse), sawtooth (saw), or triangle waveforms, as well as white and pink noise to create a game's music and sound (K. Chiptunes "are derived from a variety of stylistic realms are presented together in live performances, on CD compilations, or on websites devoted to chip music". ChiptunesĬhiptunes are electronic music compositions or performances either emulating the sounds of or created through computer and video game sound chips typically from the 1970s and 1980s. The resulting medium and genre of music became known as chiptunes. Within this practice of computer hacking or modifying, a subculture focusing on music making through computer and video game hardware and software emerged. ![]() Some early adopters of home computing technologies modified or created software that pushed hardware and software boundaries of early computing devices. In the late 1970s and early 1980s, advancements in computer technology led to a decrease in computer size and manufacturing costs, contributing to an increase in availability and affordability of home computer and video game systems.
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