SameSameButDifferent v.02 – Iceland

The history of computer music is to a great extent the history of algorithmic composition. Here generative approaches are seen as an artistic technique. However, the generation of algorithmic music is normally done in the studio, where the music is aesthetically valued by the composer. The public only gets to know one, or perhaps few, variations of the expressive scope of the algorithmic system itself. In this paper, we describe a generative music system of infinite compositions, where the system itself is aimed for distribution and to be used on personal computers. This system has a dual structure of a compositional score and a performer that performs the score in real-time every time a piece is played. We trace the contextual background of such systems and potential future applications

Social retrieval of music content in multi-user performance

An emerging trend in interactive music performance consists of the audience directly participating in the performance by means of mobile devices. This is a step forward with respect to concepts like active listening and collaborative music making: non-expert members of an audience are enabled to directly participate in a creative activity such as the performance. This requires the availability of technologies for capturing and analysing in real-time the natural behaviour of the users/performers, with particular reference to non- verbal expressive and social behaviour. This paper presents a prototype of a non-verbal expressive and social search engine and active listening system, enabling two teams of non-expert users to act as performers. The performance consists of real-time sonic manipulation and mixing of music pieces selected according to features characterising performers\u2019 movements captured by mobile devices. The system is described with specific reference to the SIEMPRE Podium Performance, a non-verbal socio-mobile music performance presented at the Art & ICT Exhibition that took place in Vilnius (LI) in November 2013

Towards a real-time system for teaching novices good violin bowing technique

We describe the ongoing development of a system to support the teaching of good posture and bowing technique to novice violin players. Using an inertial motion capture system we can track in real-time: i) a player’s bowing action (and measure how it deviates from a target trajectory); ii) whether the player is holding their violin correctly. We detail some initial experiments that show that vibrotactile feedback can guide arm movements in one and two dimensions. We then present some preliminary findings from integrating the motion capture and feedback components into a prototype real-time training system. The advantages of vibrotactile feedback are that: i) it does not use the students’ visual and auditory systems which are already involved in the activity of music making; ii) it is an intuitive way to guide body movements

INTERACTIVE SONIFICATION STRATEGIES FOR THE MOTION AND EMOTION OF DANCE PERFORMANCES

The Immersive Interactive SOnification Platform, or iISoP for short, is a research platform for the creation of novel multimedia art, as well as exploratory research in the fields of sonification, affective computing, and gesture-based user interfaces. The goal of the iISoP’s dancer sonification system is to “sonify the motion and emotion” of a dance performance via musical auditory display. An additional goal of this dissertation is to develop and evaluate musical strategies for adding layer of emotional mappings to data sonification. The result of the series of dancer sonification design exercises led to the development of a novel musical sonification framework. The overall design process is divided into three main iterative phases: requirement gathering, prototype generation, and system evaluation. For the first phase help was provided from dancers and musicians in a participatory design fashion as domain experts in the field of non-verbal affective communication. Knowledge extraction procedures took the form of semi-structured interviews, stimuli feature evaluation, workshops, and think aloud protocols. For phase two, the expert dancers and musicians helped create test-able stimuli for prototype evaluation. In phase three, system evaluation, experts (dancers, musicians, etc.) and novice participants were recruited to provide subjective feedback from the perspectives of both performer and audience. Based on the results of the iterative design process, a novel sonification framework that translates motion and emotion data into descriptive music is proposed and described

The effects of projected films on singers' expressivity in choral performance

Title from PDF of title page, viewed on July 23, 2013Dissertation advisor: Charles RobinsonVitaIncludes bibliographic references (pages 224-259)Thesis (Ph.D.)--Conservatory of Music and Dance and School of Education. University of Missouri--Kansas City, 2013The purpose of this study was to investigate the effects of projected film visuals on singers' expressivity in choral performance. The study was divided into three phases. In Phase One, university choir singers (N = 21) viewed eight audiovisual pairings (two film excerpts and four choral etudes) and rated these pairings according to perceived music to film congruency. Based on these ratings, two choral etudes were identified that elicited the broadest congruency contrasts when paired with the film segments. In Phase Two, a different group of university choir singers (N = 116) rehearsed and prepared both of the selected choral etudes referred to as “Doh” and “Noo.” Subsequently, these singers were organized into smaller chamber ensembles (n = 11), and performed each choral etude three times under the following conditions: (1) while viewing congruent film, (2) while viewing incongruent film, and (3) with no film projected. After each performance, singers reported their level of self-expression. At the completion of all three performances, singers reported their preferred performance condition. Finally, participants listened to their audio-recorded performances and rated these for performance expressivity and personal preference. During Phase Three, choral experts (N = 8) rated performance expressivity and reported personal preference for each audio-recorded performance. A two-way ANOVA with repeated measures found significant main effects of both etude and film visual performance condition on participants' expressivity ratings (p < .001). Additionally, a significant etude x film visual performance condition interaction was discovered (p = .001). Participants rated self-expression significantly higher when singing with a congruent film compared with other conditions for both etudes (p < .001). Chi-square tests found most preferred experiences during congruent performances, and least preferred experiences during incongruent performances for both etudes (p < .001). Expressivity ratings for audio-recorded performances indicated significantly higher expressivity ratings for the performances influenced by the congruent film visual of etude “Doh” (p < .05), while no significant differences were found for etude “Noo” (p > .05). Implications of these findings are discussed in relation to filmmaking techniques, music education curriculum, choral rehearsal pedagogy, and composition/performance practice, with recommendations for future research.Introduction -- Review of literature -- Methodology -- Results -- Discussion -- Appendix A. Phase one - Recruitment script -- Appendix B. Film segments one and two - snapshot images -- Appendix C. Four choral etudes -- Appendix D. Phase one - script -- Appendix E. Phase one - consent form -- Appendix F. Phase one - Survey tool -- Appendix G. Phase two - singers recruitment script -- Appendix H. Rehearsal lesson plan -- Appendix I. Room and material dimensions -- Appendix J. Phase two - singer consent form -- Appendix K. Phase two - script -- Appendix L. Phase two - self-report survey tool -- Appendix M. Phase two - listening perception survey tool -- Appendix N. Phase three -- choral expert recruitment script -- Appendix O. Phase three - Choral expert consent form -- Appendix P. Phase three - script -- Appendix Q. Phase three - listening perception survey too

Toward a model of computational attention based on expressive behavior: applications to cultural heritage scenarios

Our project goals consisted in the development of attention-based analysis of human expressive behavior and the implementation of real-time algorithm in EyesWeb XMI in order to improve naturalness of human-computer interaction and context-based monitoring of human behavior. To this aim, perceptual-model that mimic human attentional processes was developed for expressivity analysis and modeled by entropy. Museum scenarios were selected as an ecological test-bed to elaborate three experiments that focus on visitor profiling and visitors flow regulation

For a ‘Dramaturgy of the Piano Recital’ – an investigation of interdisciplinary strategies for live classical piano performances

This research investigates interdisciplinary strategies for live classical piano performances. The questions which initiated this research emerged from my practice as a classical pianist, and they are concerned, in particular, with the space of the performance, the formalities of the concert etiquette, and the format of the presentations themselves. Although the conventions of the concert hall and the respective idea of music alone have been widely established since the mid-nineteenth century, the understanding of music as an intrinsically multimedia experience has been increasingly explored in contemporary academic and artistic works. This research aims to contribute to this context by exploring the idea of dramaturgy in the development of interdisciplinary piano performances as comprehensive art works, and by offering alternative ways to engage audiences in classical music performances. To this end, experimental piano performances have been devised to investigate the topics: (1) interdisciplinary dialogues within musical performances; (2) alternative strategies for the space of the performance and for the engagement of audiences; (3) application of concepts of dramaturgy and narrative to interdisciplinary piano performance. Theoretical and practical works in the fields of music performance, theatre and dance have been examined in order to contextualise this study. Findings have been drawn from a reflection-in-action process, which was supported by audience feedback and included considerations on my experience as author and performer, and discussions on the literature review. The outcome of this research shows that interdisciplinary works can demonstrate innovative strategies, introducing new audiences to classical music - to contemporary classical repertoires in particular - and offering fresher ways of engagement to experienced spectators. Ultimately, this research contribution to the classical music field consists of offering new insights for the format of live music performances, new parameters for the classical pianist’s practice, and the introduction of the concept of an artform recital

Proceedings of the 25th International Seminar of the ISME Commission on Research. Federal University of Paraíba, João Pessoa, Brazil

This book includes twenty-three contributions developed form papers presented at the 2014 Research Commission Seminar of the International Society for Music Education (ISME). This was the 25th biennial ISME Research Commission Seminar, making it the most established research gathering of its type in the world. Over three hundred and seventy pages of peer-reviewed contributions are penned by scholars from the five continents working in the field’s state-of-the-art. Embracing diverse methodologies authors focus on topics including early childhood, inclusion, creativity, performance, perception, instrumental teaching, teacher education, primary, post-primary and informal education. Founded in 1954, affiliated to UNESCO and present in over eighty countries, ISME is the premiere international organisation for music education