Is Vivaldi smooth and takete? Non-verbal sensory scales for describing music qualities

Studies on the perception of music qualities (such as induced or perceived emotions, performance styles, or timbre nuances) make a large use of verbal descriptors. Although many authors noted that particular music qualities can hardly be described by means of verbal labels, few studies have tried alternatives. This paper aims at exploring the use of non-verbal sensory scales, in order to represent different perceived qualities in Western classical music. Musically trained and untrained listeners were required to listen to six musical excerpts in major key and to evaluate them from a sensorial and semantic point of view (Experiment 1). The same design (Experiment 2) was conducted using musically trained and untrained listeners who were required to listen to six musical excerpts in minor key. The overall findings indicate that subjects\u2019 ratings on non-verbal sensory scales are consistent throughout and the results support the hypothesis that sensory scales can convey some specific sensations that cannot be described verbally, offering interesting insights to deepen our knowledge on the relationship between music and other sensorial experiences. Such research can foster interesting applications in the field of music information retrieval and timbre spaces explorations together with experiments applied to different musical cultures and contexts

A Recording, Performance Guide, and Composer Interviews: Six New Original Works for Trios Involving Saxophone, Commissioned for the Rogue Trio and Lotus

abstract: This project includes a recording, composer biographies, performance guides, and composer questionnaires for seven original works commissioned for either the Rogue Trio or Lotus. The members of the Rogue Trio are violinist Kathleen Strahm, saxophonist Justin Rollefson, and pianist Mary Cota. Lotus’s members include Samuel Detweiler, Justin Rollefson, and Kristen Zelenak on saxophone. Both ensembles are based in Tempe, Arizona. All seven original compositions were recorded at Tempest Recording in February of 2018. The first piece, Four Impersonations (2016), was commissioned by the Rogue Trio and written by Theo Chandler (b.1992) for violin, soprano saxophone and piano. The second piece was written by Spencer Arias (b. 1990) titled He Said There Was No Sound (2015) for violin, alto saxophone, and piano. The final work is titled Cabinet Meeting (2017), composed by Zachary Green (b. 1993) for violin, alto and tenor saxophone, and piano. The first piece commissioned by Lotus and composed by Spencer Arias is titled As I escape, the water calms (2017) for soprano saxophone, alto saxophone, and tenor saxophone. The second piece was composed by Graham Cohen (b. 1999), titled Introduction and Toccata (2017), written for soprano, alto, and baritone saxophones. The third piece, titled Everything that rises, was written by David “Clay” Mettens (b. 1990) in 2014 for three soprano saxophones. Samuel Detweiler, Justin Rollefson and Tyler Flowers originally commissioned this piece. The final piece commissioned by Lotus was written by Matthew Kennedy (b. 1987) titled Triceratops: tasty grooves for saxophone trio (2017) for alto, tenor, and baritone saxophones.Dissertation/ThesisFour Impersonations, Movement I: An outwardly-confident adolescent demanding recognition - Theo ChandlerFour Impersonations, Movement II: A grumpy hermit ignoring the attention of a suitor - Theo ChandlerFour Impersonations, Movement III: A skinny, shy boy standing in the rain - Theo ChandlerFour Impersonations, Movement IV: Subordinates mocking an authority figure - Theo ChandlerHe Said There Was No Sound - Spencer AriasCabinet Meeting, Movement I: Introduction - Zachary GreenCabinet Meeting, Movement II: Jared Kushner, mysterious robot - Zachary GreenCabinet Meeting, Movement III: Secretary of State Rex Tillerson, lonesome cowboy - Zachary GreenCabinet Meeting, Movement IV: Anthony "The Mooch" Scaramucci, in candid conversation with the New Yorker - Zachary GreenCabinet Meeting, Movement V: Betsy DeVos Secretary of Education - Zachary GreenCabinet Meeting, Movement VI: Ben Carson Secretary of Housing and Urban Development - Zachary GreenCabinet Meeting, Movement VII: Attorney General Jeff Sessions, responding to questions from the Senate Intelligence Committee - Zachary GreenAs I escape, the water calms - Spencer AriasIntroduction and Toccata - Graham CohenEverything that rises - David “Clay” MettensTriceratops - Matthew KennedyDoctoral Dissertation Music 201

The Bulletin: Sidney Kimmel Medical College at Thomas Jefferson University, Volume 65, Issue 4, Fall 2016

This issue includes: Creating the Ideal Physician-One Note at a Time: The Dean\u27s concert series is more than a respite in the middle of a busy day at SKMC Tiny Bubbles, Big Future: New uses for microbubble-filled ultrasound contrast agents could reduce the need for highly invasive medical tests. Dean\u27s Column Findings: New pathway to treat heart failure #Giving Tuesday: A Message from Elizabeth Dale On Campus Clara Callahan, MD: A keen eye for aspiring physicians Kate Sugarman, MD \u2788: A career guided by social justice Nick Benvenuto: Finding Science and Art in Both Winemaking and Medicine Class Notes In Memoriam Time Capsule By the Number

A Music-Therapy Robotic Platform for Children with Autism: A Pilot Study

Children with Autism Spectrum Disorder (ASD) experience deficits in verbal and nonverbal communication skills including motor control, turn-taking, and emotion recognition. Innovative technology, such as socially assistive robots, has shown to be a viable method for Autism therapy. This paper presents a novel robot-based music-therapy platform for modeling and improving the social responses and behaviors of children with ASD. Our autonomous social interactive system consists of three modules. Module one provides an autonomous initiative positioning system for the robot, NAO, to properly localize and play the instrument (Xylophone) using the robot’s arms. Module two allows NAO to play customized songs composed by individuals. Module three provides a real-life music therapy experience to the users. We adopted Short-time Fourier Transform and Levenshtein distance to fulfill the design requirements: 1) “music detection” and 2) “smart scoring and feedback”, which allows NAO to understand music and provide additional practice and oral feedback to the users as applicable. We designed and implemented six Human-Robot-Interaction (HRI) sessions including four intervention sessions. Nine children with ASD and seven Typically Developing participated in a total of fifty HRI experimental sessions. Using our platform, we collected and analyzed data on social behavioral changes and emotion recognition using Electrodermal Activity (EDA) signals. The results of our experiments demonstrate most of the participants were able to complete motor control tasks with 70% accuracy. Six out of the nine ASD participants showed stable turn-taking behavior when playing music. The results of automated emotion classification using Support Vector Machines illustrates that emotional arousal in the ASD group can be detected and well recognized via EDA bio-signals. In summary, the results of our data analyses, including emotion classification using EDA signals, indicate that the proposed robot-music based therapy platform is an attractive and promising assistive tool to facilitate the improvement of fine motor control and turn-taking skills in children with ASD

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

16th Sound and Music Computing Conference SMC 2019 (28–31 May 2019, Malaga, Spain)

The 16th Sound and Music Computing Conference (SMC 2019) took place in Malaga, Spain, 28-31 May 2019 and it was organized by the Application of Information and Communication Technologies Research group (ATIC) of the University of Malaga (UMA). The SMC 2019 associated Summer School took place 25-28 May 2019. The First International Day of Women in Inclusive Engineering, Sound and Music Computing Research (WiSMC 2019) took place on 28 May 2019. The SMC 2019 TOPICS OF INTEREST included a wide selection of topics related to acoustics, psychoacoustics, music, technology for music, audio analysis, musicology, sonification, music games, machine learning, serious games, immersive audio, sound synthesis, etc

1977-10-13 (Lamron)

Student newspaper includes campus, local and national news stories and photographs. For additional information about this collection see: http://digitalcommons.wou.edu/studentnewspapers

Making machinima: animation, games, and multimodal participation in the media arts

In the project discussed in this article, 30 11-year olds made an animated film in the machinima style, influenced by both film and game culture, and using a 3-D animation software tool, Moviestorm. The processes and products of the project will be analysed using a social semiotic/multimodal approach, exploring the social interests behind the integration of visual design, music, voice acting, story-writing, and animation which characterise the project. The outcomes suggest a need to move beyond established thinking and practice in media literacy practice and research in three ways. Firstly, we need to develop moving image education to recognise new genres and cultures. Secondly, we need to recognise that such productions are intensely multimodal, involving music, drama, story-writing, and visual design. Thirdly, such projects demand connected pedagogy across media, literacy, music, drama, computer science, and art