A Zoomable Mapping of a Musical Parameter Space Using Hilbert Curves

The final publication is available at Computer Music Journal via http://dx.doi.org/10.1162/COMJ_a_0025

Studying Music is Difficult and Important: Challenges of Music Knowledge Representation

* Music is an art, so many musicians try to use its elements in interesting and original ways, not standardized and ordinary ways. (cf. Collins 2006) * Music is a performing art, so we have both performances and symbolic representations (both scores and transcriptions of performances). * Much music, especially Western, has synchronization requirements of a complexity equalled in no presentation of information for human consumption -- art form or other -- we are aware of. * Music involves many different instruments, often in groups. No other art form we know of has anything like this, and it opens up the possibility of versions of a given work for other ensembles or at other levels of technical demands. * Music is often combined with text. * Music is extremely popular, so, for many works, numerous versions actually exist. For all these reasons, music is uniquely difficult, and uniquely valuable, to deal with -- especially by computer. To support the argument, we give examples in the form of conventional Western music notation that either violate -- in several cases, blatantly -- the supposed rules of music notation, or that bring up difficult issues of music representation (see Byrd 1994 and Byrd 2009). We also give examples in audio form from some unpublished work of ours to point out the astounding range of what is considered music by one culture or another. References Byrd, Donald (1994). Music Notation Software and Intelligence. Computer Music Journal 18(1), pp. 17-20; available (in scanned form) at http://www.informatics.indiana.edu/donbyrd/Papers/MusNotSoftware+Intelligence.pdf . Byrd, Donald (2009). Gallery of Interesting Music Notation. Available at http://www.informatics.indiana.edu/donbyrd/InterestingMusicNotation.html . Collins, Nick (2006, Winter). Composing to Subvert Content Retrieval Engines. ICMA Array, Winter 2006, pp. 37-41

ECE Music Courses in Higher Education: Rhythmic Learning Based on Local Culture Through the Solfeggio Technique

The lack of learning techniques used by teachers in teaching music in early childhood, especially rhythmic learning, in general teachers only teach rhythm by explaining the value of notes, not using singing, and not connecting it with singing. The purpose of this research is to describe the effectiveness of rhythmic learning using cultural-based solfeggio techniques through lecture assignments. The research method used is descriptive qualitative with an emphasis on exploration. Data collection was taken from the results of the learning value of the rhythmic ensemble which lasted for four meetings. The results showed that of the eighteen students who attended the Culture-Based Arts Education course, when it came to Rhythmic Ensemble, fifteen of them got an A and only one got an A-. All of them can read notes and show them through body rhythmics while singing folk songs. Therefore, it can be recommended that early childhood teachers for music learning, especially in discussing the value of notes/rhythmic learning, use the solfeggio technique using folk songs to introduce local culture from an early age. Keywords: ECE program student, rhythmic learning, local culture, solfeggio technique References: Banoe, P. (2003). Kamus musik. Kanisius. Bronson, M. B. (1995). The right stuff for children birth to 8: Selecting play materials to support development. Natl Assn for the Education. Burak, S. (2019). Self-efficacy of pre-school and primary school pre-service teachers in musical ability and music teaching. International Journal of Music Education, 37(2), 257–271. https://doi.org/10.1177/0255761419833083 Carrillo, C., Baguley, M., & Vilar, M. (2015). The Influence of Professional Identity on Teaching Practice: Experiences of Four Music Educators. International Journal of Music Education, 33(4), 451–462. https://doi.org/10.1177/0255761415582348 Duţică, L. (2018). Assessment Typologies Used Within the Discipline Theory, Solfeggio, Musical Dictation. Review of Artistic Education, 15(1), 37–43. https://doi.org/doi:10.2478/rae-2018-0004 Eyles, A.-M. (2018). Teachers’ Perspectives about Implementing ICT in Music Education. Australian Journal of Teacher Education, 43(5), 110–131. https://doi.org/10.14221/ajte.2018v43n5.8 Hamilton, A. (2007). Music and the Aural Arts. The British Journal of Aesthetics, 47(1), 46–63. https://doi.org/10.1093/aesthj/ayl038 Ismail, M. J., Fung Chiat, L., & Anuar, A. F. (2021). Learning Music Through Rhythmic Movements in Malaysia. Malaysian Journal of Learning and Instruction, 18(Number 1), 241–263. https://doi.org/10.32890/mjli2021.18.1.10 Jing, W., & Danprdit, P. (2022). Piano Rhythmic Exercise for Preschool Education Major Teaching at Taiyuan Teacher College. Journal of Green Learning, 2(2), 100–105. https://doi.org/10.53889/jgl.v2i2.120 Kim, H., Sefcik, J. S., & Bradway, C. (2017). Characteristics of Qualitative Descriptive Studies: A Systematic Review. Research in Nursing & Health, 40(1), 23–42. https://doi.org/10.1002/nur.21768 Kiraly, Z. (2003). Solfeggio 1: A Vertical Ear Training Instruction Assisted by the Computer. International Journal of Music Education, os-40(1), 41–58. https://doi.org/10.1177/025576140304000105 Lubkov, A. V. (2020). Modern Problems of Pedagogical Education. The Education and Science Journal., 22(3). https://doi.org/10.17853/1994-5639-2020-3-36-54 Mohedo, M. T. D., & Bújez, A. V. (2012). Improving Learning in a Professional Context: A Research Perspective on the New Music Teacher. Procedia - Social and Behavioral Sciences, 69, 579–584. https://doi.org/10.1016/j.sbspro.2012.11.449 Niland, A. (2009). The Power of Musical Play: The Value of Play-Based, Child-Centered Curriculum in Early Childhood Music Education. General Music Today, 23(1), 17–21. https://doi.org/10.1177/1048371309335625 Wang, L. (2022). The Skill Training of Reading Music in the Teaching of Solfeggio and Ear Training in the New Media Environment. Applied Bionics and Biomechanics, 2022, 1–11. https://doi.org/10.1155/2022/8209861 Zhang, W. (2022). Practice and Exploration of Music Solfeggio Teaching Based on Data Mining Technology. Journal of Environmental and Public Health, 2022, 5436772. https://doi.org/10.1155/2022/5436772 &nbsp

Music Emotion Capture: Ethical issues around emotion-based music generation

People’s emotions are not always detectable, e.g. if a person has difficulties/lack of skills in expressing emotions, or if people are geographically separated/communicating online). Brain-computer interfaces (BCI) could enhance non-verbal communication of emotion, particularly in detecting and responding to users’ emotions e.g. music therapy, interactive software. Our pilot study Music Emotion Capture 1 detects, models and sonifies people’s emotions based on their real-time emotional state, measured by mapping EEG feedback onto a valence-arousal emotional model 2 based on [3]. Though many practical applications emerge, the work raises several ethical questions, which need careful consideration. This poster discusses these ethical issues. Are the work’s benefits (e.g. improved user experiences; music therapy; increased emotion communication abilities; enjoyable applications) important enough to justify navigating the ethical issues that arise? (e.g. privacy issues; control of representation of/reaction to users’ emotional state; consequences of detection errors; the loop of using emotion to generate music and music affecting the emotion, with the human in the process as an “intruder”). 1 Langroudi, G., Jordanous, A., & Li, L. (2018). Music Emotion Capture: emotion-based generation of music using EEG. Emotion Modelling and Detection in Social Media and Online Interaction symposium @ AISB 2018, Liverpool. 2 Paltoglou, G., & Thelwall, M. (2012). Seeing stars of valence and arousal in blog posts. IEEE Transactions on Affective Computing, 4(1) [3] Russell, J.A. (1980). ‘A circumplex model of affect’, Journal of Personality and Social Psychology, 3

Music Neurotechnology: a natural progression

Music has always had a connection with science, which is facilitated by the latest technologies of the time. The 16th century luthier’s savoir faire to manufacture violins and the plethora of software available these days to compose and analyse music with sophisticated modelling and statistical methods, are only two examples of this. This chapter examines how this connection is progressing nowadays, in particular with relation to musical creativity and Biology. The term ‘Music Neurotechnology’ appeared for the first time in Computer Music Journal in 2009, to refer to a new research area that is emerging at the crossroads of neurobiology, engineering sciences and music. After a brief introduction to Music Neurotechnology, the chapter discusses the authors’ own projects in this field, including the development of a technique to synthesise sounds representing the behaviour of neurones cultured in vitro and the composition of orchestral music using rhythms generated by computer simulations of brain tissue. Research into brain-computer music interface (BCMI) is introduced as an example of the potential impact of Music Neurotechnology to biomedical engineering in addition to musical creativity. The conclusion suggests that Music Neurotechnology holds a tremendous potential to harness the benefits of music to society and human development

Um mapa da tendências de composição pós-1980 que utilizam recursos tecnológicos

O presente trabalho apresenta um mapa das principais tendências de composição musical pós-1980 que utilizam meios tecnológicos, seja como recurso auxiliar à composição, seja para a criação do resultado final da obra, ou seja, como um suporte para diferentes formas de interação musical. Para a realização deste mapa foram analisados todos os artigos dedicados ao tema publicados entre 1980 e 2001 em sete periódicos dedicados à música comtenporanêa: Perspectives of New Music, Ars Sonora, Comtemporary Music Review, Computer Music Journal, Journal of New Music Research. Organised Sound, e Journal of Electroacoustic Music. Os artigos selecionados foram divididos em três tendências principais. Cada tendência é apresentada individualmente, indicando suas características mais destacadas. Uma característica comum a todas elas é uma reação a métodos de composição centrados em combinatórias de parâmetros ou de eventos sonoros presentes em certas propostas anteriores a 1980. O resultado desta reação, no entanto, não se limita a uma superação dos problemas que detectam. As respostas que oferecem terminam, efetivamente, por introduzir novas perspectivas e princípios composicionais