SoundXY4: supporting tabletop collaboration and awareness with ambisonics spatialisation

Co-located tabletop tangible user interfaces (TUIs) for music performance are known for promoting multi-player collaboration with a shared interface, yet it is still unclear how to best support the awareness of the workspace in terms of understanding individual actions and the other group members actions, in parallel. In this paper, we investigate the effects of providing auditory feedback using ambisonics spatialisation, aimed at informing users about the location of the tangibles on the tabletop surface, with groups of mixed musical backgrounds. Participants were asked to improvise music on "SoundXY4: The Art of Noise", a tabletop system that includes sound samples inspired by Russolo's taxonomy of noises. We compared spatialisation vs. no-spatialisation conditions, and findings suggest that, when using spatialisation, there was a clearer workspace awareness, and a greater engagement in the musical activity as an immersive experience

"It's cleaner, definitely": Collaborative Process in Audio Production.

Working from vague client instructions, how do audio producers collaborate to diagnose what specifically is wrong with a piece of music, where the problem is and what to do about it? This paper presents a design ethnography that uncovers some of the ways in which two music producers co-ordinate their understanding of complex representations of pieces of music while working together in a studio. Our analysis shows that audio producers constantly make judgements based on audio and visual evidence while working with complex digital tools, which can lead to ambiguity in assessments of issues. We show how multimodal conduct guides the process of work and that complex media objects are integrated as elements of interaction by the music producers. The findings provide an understanding how people currently collaborate when producing audio, to support the design of better tools and systems for collaborative audio production in the future

Tabletop Tangible Interfaces for Music Performance: Design and Evaluation

This thesis investigates a new generation of collaborative systems: tabletop tangible interfaces (TTIs) for music performance or musical tabletops. Musical tabletops are designed for professional musical performance, as well as for casual interaction in public settings. These systems support co-located collaboration, offered by a shared interface. However, we still know little about their challenges and opportunities for collaborative musical practice: in particular, how to best support beginners or experts or both. This thesis explores the nature of collaboration on TTIs for music performance between beginners, experts, or both. Empirical work was done in two stages: 1) an exploratory stage; and 2) an experimental stage. In the exploratory stage we studied the Reactable, a commercial musical tabletop designed for beginners and experts. In particular, we explored its use in two environments: a multi-session study with expert musicians in a casual lab setting; and a field study with casual visitors in a science centre. In the experimental stage we conducted a controlled experiment for mixed groups using a bespoke musical tabletop interface, SoundXY4. The design of this study was informed by the previous stage about a need to support better real-time awareness of the group activity (workspace awareness) in early interactions. For the three studies, groups musical improvisation was video-captured unobtrusively with the aim of understanding natural uses during group musical practice. Rich video data was carefully analysed focusing on the nature of social interaction and how workspace awareness was manifested. The findings suggest that musical tabletops can support peer learning during multiple sessions; fluid between-group social interaction in public settings; and a democratic and ecological approach to music performance. The findings also point to how workspace awareness can be enhanced in early interactions with TTIs using auditory feedback with ambisonics spatialisation. The thesis concludes with theoretical, methodological, and practical implications for future research in New Interfaces for Musical Expression (NIME), tabletop studies, and Human-Computer Interaction (HCI)

Computer Musicking: Designing for Collaborative Digital Musical Interaction.

PhDThis thesis is about the design of software which enables groups of people to make music together. Networked musical interaction has been an important aspect of Sound and Music Computing research since the early days, although collaborative music software has yet to gain mainstream popularity, and there is currently limited research on the design of such interfaces. This thesis draws on research from Computer Supported Cooperative Work (CSCW) to explore the design of systems for Collaborative Digital Musical Interaction (CDMI). A central focus of this research is the concept of Awareness: a person’s understanding of what is happening, and of who is doing what. A novel software interface is developed and used over three experimental studies to investigate the effects different interface designs have on the way groups of musicians collaborate. Existing frameworks from CSCW are extended to accommodate the properties of music as an auditory medium, and theories of conventional musical interaction are used to elaborate on the nature of music making as a collaborative and social activity which is focused on process-oriented creativity. This research contributes to the fields of Human-Computer Interaction (HCI), Computer Supported Cooperative Work, and Sound and Music Computing through the identification of empirically derived design implications and recommendations for collaborative musical environments. These guidelines are demonstrated through the design of a hypothetical collaborative music system. This thesis also contributes towards the methodology for evaluating such systems, and considers the distinctions between CDMI and the forms of collaboration traditionally studied within CSCW.Engineering and Physical Sciences Research Council (EPSRC) Doctoral Training Account Award (DTA)

Music 2025 : The Music Data Dilemma: issues facing the music industry in improving data management

© Crown Copyright 2019Music 2025ʼ investigates the infrastructure issues around the management of digital data in an increasingly stream driven industry. The findings are the culmination of over 50 interviews with high profile music industry representatives across the sector and reflects key issues as well as areas of consensus and contrasting views. The findings reveal whilst there are great examples of data initiatives across the value chain, there are opportunities to improve efficiency and interoperability

Exploring Collaborative Music Making Experience in Shared Virtual Environments.

PhD ThesisVirtual Environments (VEs), as media providing high-level immersion, o er people an opportunity to mimic natural interpersonal interactions digitally. As a multi-player version of VEs, Shared Virtual Environments (SVEs) inherit VEs' advantages in enabling natural interactions and generating a high level of immersion, and will possibly play an increasingly important role in supporting digitally-mediated collaboration. Though SVEs have been extensively explored for education, entertainment, work, and training, as yet, few SVEs exist in the eld of supporting creative collaboration and as a result, research on the creative aspect of collaboration in SVEs remains very poor. This raises questions about how to design the user experience to support creative collaboration in SVEs. This thesis starts with an introduction and related work. An SVE called Let's Move (LeMo) will then be briefed. LeMo allows two people to interact with each other and create music collaboratively in its virtual environment. Three studies based on LeMo will then be presented: Study I explores how free-form visual 3D annotations and work identity in uence the collaboration, Study II and Study III explore how working space con gurations a ect the collaboration. Results indicate that: (1) 3D annotations can support people's collaborative music making (CMM) in SVEs through ve classes of use; (2) group territory, personal territory, and territorial behaviour emerge during collaborative music making in SVEs; (3) manipulating characteristics of personal space a ected collaborative behaviour, formation of territory, work e ciency, sense of contribution, preference, and so on. Then an overall discussion between studies is made and further implications for SVEs supporting collaborative music making (and other types of collaboration) in SVEs are given. The ndings of this thesis contribute towards the design of Human-Computer Interaction of Shared Virtual Environments focusing on supporting collaborative music making

The Recasting of Copyright & Related Rights for the Knowledge Economy

In the European Union, copyright law is increasingly a matter for the European legislator. Member states retain ever less competence to regulate intellectual property rights. This study critically examines the \u27acquis communautaire\u27 in the field of copyright and related (neighbouring) rights, focusing on the seven copyright specific directives, from the 1991 Software directive to the 2001 Information Society Directive. It also deals with distinct issues that are on the agenda of the EU: After reviewing arguments for and against the extension of the term of protection of phonograms (sound recordings), the authors conclude there is no convincing case for extending the term of protection for sound recordings and performing artists. Neither are there compelling arguments to further harmonize the term of protection of co-written musical works. The issue of \u27orphan works\u27 is one that could benefit from an EU wide solution. Having assessed the benefits and drawbacks of the fifteen years of harmonization of copyright, the authors conclude that the European legislator should exercise restraint in further harmonization efforts at least as long as a coherent vision of the role of copyright in the EU is lacking. The Study was commissioned by the European Commission, DG Internal Market (2006) and is available at the Institute for Information Law website

Integrative Sonic Urbanism: Artist-Led Strategies for Urban Sound Design in the Contemporary City

This doctoral research advances the fields of urban sound design and acoustic planning, presenting new ways of exploring the interrelationship between individual and collective sonic experience, the dynamic potential of the urban sound environment and the complex evolution of the contemporary cityscape. It links urban sound art practices with larger urban design processes, revealing how sound contributes to the production of urban space. The research progresses by crafting a dynamic, integrative methodology that activates contrasting sonic perspectives to critically reassess the role of sound in the public realm. As it discloses this methodology, the research navigates the tension between new modes of urban sound design guided by critical artistic practice and more conventional strategies rooted in the paradigm of environmental noise. Efforts to address urban sonic conditions through quantifiable metrics are contextualised within a wider transition in which urban form is increasingly influenced by data capture, analysis and governance. Within this transition, the critical potential of sound as an active component of urban space is obscured by remedial strategies established to improve what are construed as unfavourable conditions. This research analyses the relationship between these remedial strategies, the emergence of the ISO soundscape standard and the concepts of urban ambiances, urban atmospheres and acoustic territories. It postulates that these centralising conceptual models can serve to limit as well as to advance the critical potential of this field, pursuing instead a more tactical, performative and pluralistic methodology. The articulation of this methodology is substantiated through the exposition of three major public artworks developed by the author, including: Continuous Drift (2015–), a permanent sound installation in a public urban square; The Manual for Acoustic Planning and Urban Sound Design (2013–2020), an artist placement exploring the role of the acoustic planner within a local authority; and The Office for Common Sound (2016–), a project space that fosters dialogue concerning sound within specific regional and institutional contexts. These projects expand the role of artistic practice within the context of urban design and spatial planning by activating the field of urban sound design within diverse spatial, administrative and social contexts. These projects extend established methodologies drawn from sound art, site-specific art and sound installation practices with tactics inherited from public, participatory and socially engaged art, demonstrating how artist-led strategies for urban sound design can advance new forms of spatial production through collaboration with diverse urban actors

Creative Coding for Audiovisual Art: The CodeCircle Platform

CodeCircle is an online, web-based programming tool developed by Goldsmiths Computing. The tool is designed to be specifically tailored to the creation of practical work in computer music, computer graphics, digital signal processing, real-time interaction, interactive machine learning, games development and design. All such practices share a historical link to the field of digital audiovisual art, which is an interdisciplinary practice that mainly emerged during the twentieth century alongside the development of creative and media technologies. CodeCircle consists of a browser-based HTML5 integrated development environment (IDE) with bug detection, real-time rendering and social features. Although many such platforms exist, CodeCircle uniquely fuses interactive programming with collaborative coding, providing just in time (JIT) compilation (where available) alongside real-time, socially oriented document editing in a web browser. We define the core requirements for CodeCircle based on informed, pedagogical and creative practice needs. This is done through a brief definition of audiovisual art methods in the context of creative computing, further contextualising its position as a domain of enquiry that depends on and informs technological innovation in sound, graphics and interaction

Conflicts, integration, hybridization of subcultures: An ecological approach to the case of queercore

This paper investigates the case study of queercore, providing a socio-historical analysis of its subcultural production, in the terms of what Michel Foucault has called archaeology of knowledge (1969). In particular, we will focus on: the self-definition of the movement; the conflicts between the two merged worlds of punk and queer culture; the \u201cinternal-subcultural\u201d conflicts between both queercore and punk, and between queercore and gay\lesbian music culture; the political aspects of differentiation. In the conclusion, we will offer an innovative theoretical proposal about the interpretation of subcultures in ecological and semiotic terms, combining the contribution of the American sociologist Andrew Abbot and of the Russian semiologist Jurij Michajlovi\u10d Lotma