Orfeo, Osmin and Otello: towards a theory of opera analysis

Three diverse operatic selections are discussed in light of a new approach to opera analysi

DLI-2: Creating the Digital Music Library: Final Report to the National Science Foundation

Indiana University’s Variations2 Digital Music Library project focused on three chief areas of research and development: system architecture, including content representation and metadata standards; component-based application architecture; and network services. We tested and evaluated commercial technologies, primarily for multimedia and storage management; developed custom software solutions for the needs of the music library community; integrated commercial and custom software products; and tested and evaluated prototype systems for music instruction and library services, locally at Indiana University, and at a number of satellite sites, in the U.S. and overseas. This document is the project's final report to the National Science Foundation.This work was sponsored by the National Science Foundation under award no. 9909068, as part of the DLI-2 initiative

Multimodal music information processing and retrieval: survey and future challenges

Towards improving the performance in various music information processing tasks, recent studies exploit different modalities able to capture diverse aspects of music. Such modalities include audio recordings, symbolic music scores, mid-level representations, motion, and gestural data, video recordings, editorial or cultural tags, lyrics and album cover arts. This paper critically reviews the various approaches adopted in Music Information Processing and Retrieval and highlights how multimodal algorithms can help Music Computing applications. First, we categorize the related literature based on the application they address. Subsequently, we analyze existing information fusion approaches, and we conclude with the set of challenges that Music Information Retrieval and Sound and Music Computing research communities should focus in the next years

“You Got To Know Us”: A Hopeful Model for Music Education in Urban Schools

Urban schools, and the students and teachers within, are often characterized by a metanarrative of deficit and crisis, causing the complex realities of urban education to remain unclear behind a wall of assumptions and stereotypes. Within music education, urban schools have received limited but increasing attention from researchers. However, voices from practitioners are often missing from this dialogue, and the extant scholarly dialogue has had a very limited effect on music teacher education. In this article, five music educators with a combined thirty years of experience in urban schools examine aspects of their experiences in the light of critical pedagogy in an attempt to disrupt the metanarrative of deficit, crisis, and decline that continues to surround urban music education. By promoting the lived-stories of successful urban music students, teachers, and programs, the authors hope to situate urban music education as a site of renewal, reform, and meaningful learning. This paper emerged from a panel discussion regarding promising practices in secondary general music with urban youth that took place at the New Directions in Music Education conference held at Michigan State University in October of 2011

Musical Platonism: A Challenge to Levinson

Musical Platonism’s central thesis is that a musical work is a sound structure and nothing more. Given this, three consequences follow. First, musical works cannot be created. Second, if two musical works have the same sound structure, they are the same musical work. Third, a musical work’s instrumentation is not a necessary feature of its identity. Jerrold Levinson denies these three claims. He argues that musical works are created; that even if two musical works have the same sound structure, they are nevertheless two different musical works; and that a musical work’s instrumentation is a necessary feature of its identity. In this essay, I challenge Levinson’s views, and I make the case for a more feasible alternative

Aspects of openness and specificity in post-minimal music

This commentary discusses my exploration in applying openness to minimalist compositional methods in the forms of inclusivity, democracy, intuition, improvisation and non-teleology. Additionally, I consider methods of balancing such openness with the specificity of virtuosity, idiom and process within my Master of Arts by Research portfolio of compositions. Each section of the thesis details my approach to different aspects of openness and specificity as a post-minimalist composer and how I have considered them in my music, including; contextualising my music within contemporary and historical manifestations of minimalist music and wider discourse; paradigms of role, format and protocol in the musical process; enculturation in the process of musical learning. I have referred to a wide range of academic and informal literature, music and media to substantiate my research interests as relevant to contemporary music and its practitioners, and widespread in popular and vernacular idioms. I conclude to clarify the position of my compositions and their methodologies in a relevant post-minimalist context and their functions as archetypes of a pragmatic system for future compositions

The Detail Behind Web-Scale: Selecting and Configuring Web-Scale Discovery Tools to Meet Music Information Retrieval Needs.

Web-scale discovery tools are rapidly gaining popularity as a purported "one-stop search" for discovering library information. Music, particularly printed music and recordings, presents unique information retrieval needs. This article identifies, explores, and makes recommendations regarding key music-related aspects to consider when selecting and implementing a discovery tool, considering scope, metadata, and interface

Automatic characterization and generation of music loops and instrument samples for electronic music production

Repurposing audio material to create new music - also known as sampling - was a foundation of electronic music and is a fundamental component of this practice. Currently, large-scale databases of audio offer vast collections of audio material for users to work with. The navigation on these databases is heavily focused on hierarchical tree directories. Consequently, sound retrieval is tiresome and often identified as an undesired interruption in the creative process. We address two fundamental methods for navigating sounds: characterization and generation. Characterizing loops and one-shots in terms of instruments or instrumentation allows for organizing unstructured collections and a faster retrieval for music-making. The generation of loops and one-shot sounds enables the creation of new sounds not present in an audio collection through interpolation or modification of the existing material. To achieve this, we employ deep-learning-based data-driven methodologies for classification and generation.Repurposing audio material to create new music - also known as sampling - was a foundation of electronic music and is a fundamental component of this practice. Currently, large-scale databases of audio offer vast collections of audio material for users to work with. The navigation on these databases is heavily focused on hierarchical tree directories. Consequently, sound retrieval is tiresome and often identified as an undesired interruption in the creative process. We address two fundamental methods for navigating sounds: characterization and generation. Characterizing loops and one-shots in terms of instruments or instrumentation allows for organizing unstructured collections and a faster retrieval for music-making. The generation of loops and one-shot sounds enables the creation of new sounds not present in an audio collection through interpolation or modification of the existing material. To achieve this, we employ deep-learning-based data-driven methodologies for classification and generation

Can Music Increase Empathy? Interpreting Musical Experience Through the Empathizing–Systemizing (E-S) Theory: Implications for Autism

Recent research has provided evidence that musical interaction can promote empathy. Yet little is known about the underlying intrapersonal and social psychological processes that are involved when this occurs. For example, which types of music increase empathy and which types decrease it; what role, if any, does empathy play in determining individual differences in musical preference, perception, and performance; or, how do these psychological underpinnings help explain the musical experiences of people with autism spectrum conditions (ASC). To address these questions we employ the Empathizing–Systemizing (E-S) theory as a fruitful framework in which to understand these music-related phenomena. Specifically, we explore how individual differences in musical preference, perception, and performance can be explained by E-S theory. We provide examples from open-ended descriptions of strong musical experiences to demonstrate the ways in which empathy and music inter-relate. Importantly, we discuss the implications for the study of autism, and for how music therapists and clinicians can use music as a tool in their work with individuals diagnosed with ASC.