Conducting a virtual ensemble with a kinect device

This paper presents a gesture-based interaction technique for the implementation of an orchestra conductor and a virtual ensemble, using a 3D camera-based sensor to capture user’s gestures. In particular, a human-computer interface has been developed to recognize conducting gestures using a Microsoft Kinect device. The system allows the conductor to control both the tempo in the piece played as well as the dynamics of each instrument set independently. In order to modify the tempo in the playback, a time-frequency processing-based algorithmis used. Finally, an experiment was conducted to assess user’s opinion of the system as well as experimentally confirm if the features in the system were effectively improving user experience or not.This work has been funded by the Ministerio de Economia y Competitividad of the Spanish Government under Project No. TIN2010-21089-C03-02 and Project No. IPT-2011-0885-430000 and by the Junta de Andalucia under Project No. P11-TIC-7154. The work has been done at Universidad de Malaga. Campus de Excelencia Internacional Andalucia Tech

Boston University Chamber Orchestra

This is the concert program of the Boston University Chamber Orchestra performance on Thursday, March 2, 2000 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed were Quinn's Day by Heather, Josselyn-Cranson, Dawn on the Beach by Henry E. Lihn, Ballet for Orchestra by Ronald G. Vigue, Stasimon by Panagiotis Liaropoulos, and Stratifications by Ethan Wickman. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Communicating and accentuating the aesthetic and expressive dimension in choral conducting

This article considers the issues that are involved in effective choral conducting from an aesthetic dimension. Drawing upon research, theories and practice, it provides some insight into the nature of communication and the significance of gesture on vocal outcome as well as qualities of leadership concomitant with such musical activity. The article also reports on a research study that investigated the professional development of students and teachers in the area of choral conducting, focusing on their attitudes, skill acquisition and the importance attached to reflection on practice. The findings reveal that consideration of what counts as effective conducting gesture and communication skill can promote better conducting and, consequently, better, more expressive singing. In addition, the positive impact of self and peer reflection on progress (both face-to-face and within a virtual learning environment) was also acknowledged. Certain suggestions for promoting effective musical leadership in the area of choral conducting are provided, in order to ground theoretical perspectives in practice

Boston University Symphony Orchestra, March 10, 2011

This is the concert program of the Boston University Symphony Orchestra performance on Thursday, March 10, 2011 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Fanfare pour précéder La péri by Paul Dukas, Speaking in Tongues for Percussion and Orchestra by Joshua Fineberg, and Symphony No. 5 in B-flat Major, op. 100 by Sergei Prokofiev. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Boston University Chamber Orchestra, November 1, 2007

This is the concert program of the Boston University Chamber Orchestra performance on Thursday, November 1, 2007 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed were Sinfonia by Richard Cornell, Ancient Airs and Dances, Suite I by Ottorino Respighi, Symphony No. 8 in B minor, "Unfinished" by Franz Schubert, and First Entr'acte from "Rosamunde" by F. Schubert. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Boston University Chamber Chorus and Chamber Orchestra, September 30, 2003

This is the concert program of the Boston University Chamber Chorus and Chamber Orchestra performance on Tuesday, September 30, 2003 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Symphony No. 83 in G minor, "La Poule", Hob. 1:83 and Mass in B-flat, "Harmoniemesse" by Franz Joseph Haydn. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Distributed Networks of Listening and Sounding: 20 Years of Telematic Musicking

This paper traces a twenty-year arc of my performance and compositional practice in the medium of telematic music, focusing on a distinct approach to fostering interdependence and emergence through the integration of listening strategies, electroacoustic improvisation, pre-composed structures, blended real/virtual acoustics, networked mutual-influence, shared signal transformations, gesture-concepts and machine agencies. Communities of collaboration and exchange over this time period are discussed, which span both pre- and post-pandemic approaches to the medium that range from metaphors of immersion and dispersion to diffraction

A Machine Vision System for Capture and Interpretation of an Orchestra Conductor\u27s Gestures

This work involves the design and implementation of a real-time Machine Vision-based Human Computer Interface (HCI) that analyzes and interprets a music conductor\u27s gestures to detect the musical beat . This HCI system interfaces directly with the Virtual Orchestra , an electronic MIDI sequenced orchestra . Prior to the development of this HCI system, the real time control of the tempo of the Virtual Orchestra could only be controlled by tapping a tempo on a MIDI controller device--a process that is foreign to most music conductors. The real-time beat information detected by this HCI system allows a conductor to conduct the Virtual Orchestra as if it were a live orchestra. This system was developed using the Broadway real-time color image capture board manufactured by Data Translation, Incorporated. The implementation involved the use of Microsoft Visual C++, Microsoft Foundation Classes (MFC) for the Graphical User Interface (GUI), Video For Windows (VFW), MIDI note generation, and Intel assembly level code optimization. Algorithms were developed for rapid RGB color thresholding, multiple contour extraction, fast contour based area and center of mass calculations, and gesture interpretation. Real time, live-video interpretation has been achieved and an end-to-end system has been demonstrated in conjuction with a MIDI sequencer

2008 Soloists' Competition Winners Concert, April 29, 2008

This is the concert program of the 2008 Soloists' Competition Winners Concert on Tuesday, April 29, 2008 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed were Concerto for Bassoon and Orchestra in B-flat, K. 191 by Wolfgang Amadeus Mozart, Violin Concerto by Alban Berg, Symphony No. 1: "Tombs of Sandici" by Brian Buch, Harp Concerto, Op. 25 by Alberto Ginestera, and Overture to "Candide" by Leonard Bernstein. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund