The sound motion controller: a distributed system for interactive music performance

We developed an interactive system for music performance, able to control sound parameters in a responsive way with respect to the user’s movements. This system is conceived as a mobile application, provided with beat tracking and an expressive parameter modulation, interacting with motion sensors and effector units, which are connected to a music output, such as synthesizers or sound effects. We describe the various types of usage of our system and our achievements, aimed to increase the expression of music performance and provide an aid to music interaction. The results obtained outline a first level of integration and foresee future cognitive and technological research related to it

Analysis of conceptual metaphors to improve music software: the role of prior experience in inclusive music interaction

An open challenge for interaction designers is to find ways of designing software solutions capable of enhancing the ability of users with differing levels of knowledge and capabilities to perform tasks that normally require specialised domain expertise. This challenge is particularly demanding in areas such as music analysis, where complex, abstract, domain-specific concepts and notations occur. One promising theoretical foundation for this work involves the identification of what are assumed to be conceptual metaphors and image schemas. These constructs are grounded in prior sensory-motor experiences of space, force, orientation and interactions with other bodies and are identified through analysing discourse. These theories have already been applied with some success both to musical concepts and, separately, to user interface design with the intention of creating more intuitive designs through exploiting these prior sensory-motor experiences. However, the present work appears to be the first to combine these hitherto distinct bodies of research. We hypothesise that if we can identify the conceptual metaphors and image schemas used by musical experts to structure their understanding of music, we can utilise this information to develop a general theoretical framework to aid designers in systematically improving their designs, providing a foundation for inclusive music interaction design and thus opening up software normally restricted to domain experts to a wider and more varied user population. A possible methodology for the development of such a framework is discussed along with details of a study to apply the conceptual metaphors and image schemas used by a small group of experienced musicians to an evaluation of Harmony Space

Musical instrument mapping design with Echo State Networks

Echo State Networks (ESNs), a form of recurrent neural network developed in the field of Reservoir Computing, show significant potential for use as a tool in the design of mappings for digital musical instruments. They have, however, seldom been used in this area, so this paper explores their possible applications. This project contributes a new open source library, which was developed to allow ESNs to run in the Pure Data dataflow environment. Several use cases were explored, focusing on addressing current issues in mapping research. ESNs were found to work successfully in scenarios of pattern classification, multiparametric control, explorative mapping and the design of nonlinearities and uncontrol. 'Un-trained' behaviours are proposed, as augmentations to the conventional reservoir system that allow the player to introduce potentially interesting non-linearities and uncontrol into the reservoir. Interactive evolution style controls are proposed as strategies to help design these behaviours, which are otherwise dependent on arbitrary values and coarse global controls. A study on sound classification showed that ESNs could reliably differentiate between two drum sounds, and also generalise to other similar input. Following evaluation of the use cases, heuristics are proposed to aid the use of ESNs in computer music scenarios

Empire State\u27s Cultural Capital at Risk? Assessing Challenges to the Workforce and Educational Infrastructure of Arts and Entertainment in New York

New York State is a world center for the arts and entertainment industry and its vast and uniquely diversified workforce is its main competitive advantage. Commissioned by the New York Empire State Development Corporation, this report examines the strengths and the challenges facing this industry and its workforce in the state, providing an assessment of the education and training infrastructure that supports this vital industry, and identifying issues that offer a potential role for public and private policy

Haptics for the development of fundamental rhythm skills, including multi-limb coordination

This chapter considers the use of haptics for learning fundamental rhythm skills, including skills that depend on multi-limb coordination. Different sensory modalities have different strengths and weaknesses for the development of skills related to rhythm. For example, vision has low temporal resolution and performs poorly for tracking rhythms in real-time, whereas hearing is highly accurate. However, in the case of multi-limbed rhythms, neither hearing nor sight are particularly well suited to communicating exactly which limb does what and when, or how the limbs coordinate. By contrast, haptics can work especially well in this area, by applying haptic signals independently to each limb. We review relevant theories, including embodied interaction and biological entrainment. We present a range of applications of the Haptic Bracelets, which are computer-controlled wireless vibrotactile devices, one attached to each wrist and ankle. Haptic pulses are used to guide users in playing rhythmic patterns that require multi-limb coordination. One immediate aim of the system is to support the development of practical rhythm skills and multi-limb coordination. A longer-term goal is to aid the development of a wider range of fundamental rhythm skills including recognising, identifying, memorising, retaining, analysing, reproducing, coordinating, modifying and creating rhythms – particularly multi-stream (i.e. polyphonic) rhythmic sequences. Empirical results are presented. We reflect on related work, and discuss design issues for using haptics to support rhythm skills. Skills of this kind are essential not just to drummers and percussionists but also to keyboards players, and more generally to all musicians who need a firm grasp of rhythm

Harmony and Technology Enhanced Learning

New technologies offer rich opportunities to support education in harmony. In this chapter we consider theoretical perspectives and underlying principles behind technologies for learning and teaching harmony. Such perspectives help in matching existing and future technologies to educational purposes, and to inspire the creative re-appropriation of technologies

[Un]happy Together: Why the Supremacy Clause Preempts State Law Digital Performance Rights in Radio-Like Streaming of Pre-1972 Sound Recordings

Lovers of the music of Frank Sinatra, Elvis Presley, Etta James, and hundreds of other recording artists whose records were made before February 15, 1972, may soon have a hard time hearing these great artists on any satellite or Internet radio service. Recently, two federal district courts have found that state laws were violated when satellite radio broadcaster Sirius XM Radio included pre-1972 sound recordings in its broadcasts without the owners’ permission, but these courts did not consider-–and the parties did not argue-–how the Supremacy Clause applies to those state law claims. This article argues that state laws purporting to grant digital performance rights to pre-1972 sound recordings are necessarily preempted by the Supremacy Clause of the United States Constitution. This article contends that enforcement of those state laws would create a serious obstacle to “the accomplishment and execution of the full purposes and objectives of Congress” in enacting the Digital Performance Right in Sound Recordings Act of 1995 (“DPRA”). The DPRA reflects Congress’ careful balancing of interests and recognition of the need for an easily administrable system of licensing, which Congress established through a complex and comprehensive compulsory licensing system. The Supremacy Clause thus preempts all state laws purporting to require licenses for digital performance rights or payment of royalties for the use of such rights by Internet or satellite radio stations beyond what is expressly provided for in the compulsory licensing system established by the DPRA, because permitting countless owners of individual pre-1972 sound recordings to assert claims for royalties and other damages outside of the compulsory licensing system would frustrate Congress’ goals in establishing that system. Part I of this article provides a brief overview of the federal rights at issue and the (very) brief history of performance rights in sound recordings, noting the absence of any express state law recognition of a performance right in sound recordings throughout most of the 20th century (other than short-lived decisions in two states over seventy-five years ago that focused on notices stamped on records purporting to prohibit a purchaser’s use of sound recordings on radio rather than a true performance right). It is only in very recent cases that courts in New York and California have recognized state law performance rights. However, they did so without considering Supremacy Clause preemption or how any state law performance rights might conflict with the federal statutory compulsory license regime established by the DPRA. Part II of the article explains the relevant legislative history and provisions of the DPRA governing the comprehensive licensing system. That statutory license and rules governing it were established to provide an efficient mechanism for digital Internet and satellite radio services to operate in compliance with their legal obligations. In Part III, the article explains Supremacy Clause doctrine and distinguishes the Supreme Court’s opinion in Goldstein v. California, which rejected a Supremacy Clause challenge to a state record piracy law in 1973. It demonstrates why neither the Court’s decision in Goldstein nor the language of the Copyright Act’s express preemption clause, which exempts state laws governing pre-1972 sound recordings from statutory preemption, precludes conflict preemption under the Supremacy Clause in the context of digital radio services that are subject to the federal compulsory license. Part IV of the article acknowledges that preemption of state law protection for digital performances of pre-1972 sound recordings raises equitable concerns, as it leaves some of this nation’s most treasured musical artists uncompensated for use of their works by Internet and satellite streaming services while the authors of more current works are compensated. However, given the delicate balancing that has gone into Congress’ recognition of a limited digital performance right and creation of a compulsory statutory licensing system, any remedy for the inequity to owners of pre-1972 sound recordings must be left to Congress. Allowing individual courts in individual states to craft a patchwork of inconsistent remedies would disrupt the balance struck by Congress and interfere with the functioning of the compulsory license system for digital sound recording performances. This is a result that the Supremacy Clause does not permit

Software agents in music and sound art research/creative work: Current state and a possible direction

Composers, musicians and computer scientists have begun to use software-based agents to create music and sound art in both linear and non-linear (non-predetermined form and/or content) idioms, with some robust approaches now drawing on various disciplines. This paper surveys recent work: agent technology is first introduced, a theoretical framework for its use in creating music/sound art works put forward, and an overview of common approaches then given. Identifying areas of neglect in recent research, a possible direction for further work is then briefly explored. Finally, a vision for a new hybrid model that integrates non-linear, generative, conversational and affective perspectives on interactivity is proposed

Physically inspired interactive music machines: making contemporary composition accessible?

Much of what we might call "high-art music" occupies the difficult end of listening for contemporary audiences. Concepts such as pitch, meter and even musical instruments often have little to do with such music, where all sound is typically considered as possessing musical potential. As a result, such music can be challenging to educationalists, for students have few familiar pointers in discovering and understanding the gestures, relationships and structures in these works. This paper describes on-going projects at the University of Hertfordshire that adopt an approach of mapping interactions within visual spaces onto musical sound. These provide a causal explanation for the patterns and sequences heard, whilst incorporating web interoperability thus enabling potential for distance learning applications. While so far these have mainly driven pitch-based events using MIDI or audio files, it is hoped to extend the ideas using appropriate technology into fully developed composition tools, aiding the teaching of both appreciation/analysis and composition of contemporary music

Visualising Music with Impromptu

This paper discusses our experiments with a method of creating visual representations of music using a graphical library for Impromptu that emulates and builds on Logo’s turtle graphics. We explore the potential and limitations of this library for visualising music, and describe some ways in which this simple system can be utilised to assist the musician by revealing musical structure are demonstrated