A Presence- and Performance-Driven Framework to Investigate Interactive Networked Music Learning Scenarios

Cooperative music making in networked environments has been subject of extensive research, scientific and artistic. Networked music performance (NMP) is attracting renewed interest thanks to the growing availability of effective technology and tools for computer-based communications, especially in the area of distance and blended learning applications. We propose a conceptual framework for NMP research and design in the context of classical chamber music practice and learning: presence-related constructs and objective quality metrics are used to problematize and systematize the many factors affecting the experience of studying and practicing music in a networked environment. To this end, a preliminary NMP experiment on the effect of latency on chamber music duos experience and quality of the performance is introduced. The degree of involvement, perceived coherence, and immersion of the NMP environment are here combined with measures on the networked performance, including tempo trends and misalignments from the shared score. Early results on the impact of temporal factors on NMP musical interaction are outlined, and their methodological implications for the design of pedagogical applications are discussed

Networked Music Performance in Virtual Reality: Current Perspectives

The ability for musicians to interact face-to-face has been highly impacted by the COVID-19 pandemic. Physical distancing and travel restrictions have forced teaching, rehearsals, and performances to be moved online. The use of videoconference platforms designed for conversation has also meant accepting their limitations when used in musical contexts. For example, in networked music performance (NMP), low-latency audio is usually transmitted alongside a separate video image. Since videoconference systems usually have a higher degree of in-built delay, the result is that performers often ignore the video image of each other in order to maintain a steady rhythm. If musicians usually avoid looking at each other during NMPs, could virtual reality provide a viable alternative to videoconferencing? In recent years, virtual reality has reemerged as an immersive medium with the ability to bring users together in an online space. However, there is a relatively small body of literature that is concerned with realistic acoustic interaction approaches in NMP when virtual reality is used as the visual medium. This paper explores research at the intersection of networked music performance, virtual reality, and virtual environments. It finds that virtual reality as a visual alternative to videoconferencing in NMP is worthy of further investigation and points to priorities for future research

Developing the scales on evaluation beliefs of student teachers

The purpose of the study reported in this paper was to investigate the validity and the reliability of a newly developed questionnaire named ‘Teacher Evaluation Beliefs’ (TEB). The framework for developing items was provided by the two models. The first model focuses on Student-Centered and Teacher-Centered beliefs about evaluation while the other centers on five dimensions (what/ who/ when/ why/ how). The validity and reliability of the new instrument was investigated using both exploratory and confirmatory factor analysis study (n=446). Overall results indicate that the two-factor structure is more reasonable than the five-factor one. Further research needs additional items about the latent dimensions “what” ”who” ”when” ”why” “how” for each existing factor based on Student-centered and Teacher-centered approaches

Designing instruments towards networked music practices

It is commonly noted in New Interfaces for Musical Expression (NIME) research that few of these make it to the mainstream and are adopted by the general public. Some research in Sound and Music Computing (SMC) suggests that the lack of humanistic research guiding technological development may be one of the causes. Many new technologies are invented, however without real aim else than for technical innovation, great products however emphasize the user-friendliness, user involvement in the design process or User-Centred Design (UCD), that seek to guarantee that innovation address real, existing needs among users. Such an approach includes not only traditionally quantifiable usability goals, but also qualitative, psychological, philosophical and musical such. The latter approach has come to be called experience design, while the former is referred to as interaction design. Although the Human Computer Interaction (HCI) community in general has recognized the significance of qualitative needs and experience design, NIME has been slower to adopt this new paradigm. This thesis therefore attempts to investigate its relevance in NIME, and specifically Computer Supported Cooperative Work (CSCW) for music applications by devising a prototype for group music action based on needs defined from pianists engaging in piano duets, one of the more common forms of group creation seen in the western musical tradition. These needs, some which are socio-emotional in nature, are addressed through our prototype although in the context of computers and global networks by allowing for composers from all over the world to submit music to a group concert on a Yamaha Disklavier in location in Porto, Portugal. Although this prototype is not a new gestural controller per se, and therefore not a traditional NIME, but rather a platform that interfaces groups of composers with a remote audience, the aim of this research is on investigating how contextual parameters like venue, audience, joint concert and technologies impact the overall user experience of such a system. The results of this research has been important not only in understanding the processes, services, events or environments in which NIME’s operate, but also understanding reciprocity, creativity, experience design in Networked Music practices.É de conhecimento generalizado que na área de investigação em novos interfaces para expressão musical (NIME - New Interfaces for Musical Expression), poucos dos resultantes dispositivos acabam por ser popularizados e adoptados pelo grande público. Algum do trabalho em computação sonora e musical (SMC- Sound and Music Computing) sugere que uma das causas para esta dificuldade, reside numalacuna ao nível da investigação dos comportamentos humanos como linha orientadora para os desenvolvimentos tecnológicos. Muitos dos desenvolvimentos tecnológicos são conduzidos sem um real objectivo, para além da inovação tecnológica, resultando em excelentes produtos, mas sem qualquer enfâse na usabilidade humana ou envolvimento do utilizador no processo de Design (UCDUser Centered Design), no sentido de garantir que a inovação atende a necessidades reais dos utilizadores finais. Esta estratégia implica, não só objectivos quantitativos tradicionais de usabilidade, mas também princípios qualitativos, fisiológicos, psicológicos e musicológicos. Esta ultima abordagem é atualmente reconhecida como Design de Experiência (Experience Design) enquanto a abordagem tradicional é vulgarmente reconhecida apenas como Design de Interação (Interaction Design). Apesar de na área Interação Homem-Computador (HCI – Human Computer Interaction) as necessidades qualitativas no design de experiência ser amplamente reconhecido em termos do seu significado e aplicabilidade, a comunidade NIME tem sido mais lenta em adoptar este novo paradigma. Neste sentido, esta Tese procura investigar a relevância em NIME, especificamente nu subtópico do trabalho cooperativo suportado por Computadores (CSCW – Computer Supported Cooperative Work), para aplicações musicais, através do desenvolvimento de um protótipo de um sistema que suporta ações musicais coletivas, baseado nas necessidades especificas de Pianistas em duetos de Piano, uma das formas mais comuns de criação musical em grupo popularizada na tradição musical ocidental. Estes requisitos, alguns sócioemocionais na sua natureza, são atendidos através do protótipo, neste caso aplicado ao contexto informático e da rede de comunicações global, permitindo a compositores de todo o mundo submeterem a sua música para um concerto de piano em grupo num piano acústico Yamaha Disklavier, localizado fisicamente na cidade do Porto, Portugal. Este protótipo não introduz um novo controlador em si mesmo, e consequentemente não está alinhado com as típicas propostas de NIME. Trata-se sim, de uma nova plataforma de interface em grupo para compositores com uma audiência remota, enquadrado com objectivos de experimentação e investigação sobre o impacto de diversos parâmetros, tais como o espaço performativo, as audiências, concertos colaborativos e tecnologias em termos do sistema global. O resultado deste processo de investigação foi relevante, não só para compreender os processos, serviços, eventos ou ambiente em que os NIME podem operar, mas também para melhor perceber a reciprocidade, criatividade e design de experiencia nas práticas musicais em rede

ImpacT2 project: preliminary study 1: establishing the relationship between networked technology and attainment

This report explored teaching practices, beliefs and teaching styles and their influences on ICT use and implementation by pupils. Additional factors explored included the value of school and LEA policies and teacher competence in the use of ICT in classroom settings. ImpaCT2 was a major longitudinal study (1999-2002) involving 60 schools in England, its aims were to: identify the impact of networked technologies on the school and out-of-school environment; determine whether or not this impact affected the educational attainment of pupils aged 816 years (at Key Stages 2, 3, and 4); and provide information that would assist in the formation of national, local and school policies on the deployment of IC

Internet of robotic things : converging sensing/actuating, hypoconnectivity, artificial intelligence and IoT Platforms

The Internet of Things (IoT) concept is evolving rapidly and influencing newdevelopments in various application domains, such as the Internet of MobileThings (IoMT), Autonomous Internet of Things (A-IoT), Autonomous Systemof Things (ASoT), Internet of Autonomous Things (IoAT), Internetof Things Clouds (IoT-C) and the Internet of Robotic Things (IoRT) etc.that are progressing/advancing by using IoT technology. The IoT influencerepresents new development and deployment challenges in different areassuch as seamless platform integration, context based cognitive network integration,new mobile sensor/actuator network paradigms, things identification(addressing, naming in IoT) and dynamic things discoverability and manyothers. The IoRT represents new convergence challenges and their need to be addressed, in one side the programmability and the communication ofmultiple heterogeneous mobile/autonomous/robotic things for cooperating,their coordination, configuration, exchange of information, security, safetyand protection. Developments in IoT heterogeneous parallel processing/communication and dynamic systems based on parallelism and concurrencyrequire new ideas for integrating the intelligent “devices”, collaborativerobots (COBOTS), into IoT applications. Dynamic maintainability, selfhealing,self-repair of resources, changing resource state, (re-) configurationand context based IoT systems for service implementation and integrationwith IoT network service composition are of paramount importance whennew “cognitive devices” are becoming active participants in IoT applications.This chapter aims to be an overview of the IoRT concept, technologies,architectures and applications and to provide a comprehensive coverage offuture challenges, developments and applications