LoopBoxes -- Evaluation of a Collaborative Accessible Digital Musical Instrument

LoopBoxes is an accessible digital musical instrument designed to create an intuitive access to loop based music making for children with special educational needs (SEN). This paper describes the evaluation of the instrument in the form of a pilot study during a music festival in Berlin, Germany, as well as a case study with children and music teachers in a SEN school setting. We created a modular system composed of three modules that afford single user as well as collaborative music making. The pilot study was evaluated using informal observation and questionnaires (n = 39), and indicated that the instrument affords music making for people with and without prior musical knowledge across all age groups and fosters collaborative musical processes. The case study was based on observation and a qualitative interview. It confirmed that the instrument meets the needs of the school settings and indicated how future versions could expand access to all students, especially those experiencing complex disabilities. In addition, out-of-the-box functionality seems to be crucial for the long-term implementation of the instrument in a school setting.Comment: 10 pages, 9 figures, to be published in the Proceedings of the International Conference on New Interfaces for Musical Expression (NIME'23

mixiTUI:A Tangible Sequencer for Electronic Live Performances

With the rise of crowdsourcing and mobile crowdsensing techniques, a large number of crowdsourcing applications or platforms (CAP) have appeared. In the mean time, CAP-related models and frameworks based on different research hypotheses are rapidly emerging, and they usually address specific issues from a certain perspective. Due to different settings and conditions, different models are not compatible with each other. However, CAP urgently needs to combine these techniques to form a unified framework. In addition, these models needs to be learned and updated online with the extension of crowdsourced data and task types, thus requiring a unified architecture that integrates lifelong learning concepts and breaks down the barriers between different modules. This paper draws on the idea of ubiquitous operating systems and proposes a novel OS (CrowdOS), which is an abstract software layer running between native OS and application layer. In particular, based on an in-depth analysis of the complex crowd environment and diverse characteristics of heterogeneous tasks, we construct the OS kernel and three core frameworks including Task Resolution and Assignment Framework (TRAF), Integrated Resource Management (IRM), and Task Result quality Optimization (TRO). In addition, we validate the usability of CrowdOS, module correctness and development efficiency. Our evaluation further reveals TRO brings enormous improvement in efficiency and a reduction in energy consumption

Tangible user interfaces : past, present and future directions

In the last two decades, Tangible User Interfaces (TUIs) have emerged as a new interface type that interlinks the digital and physical worlds. Drawing upon users' knowledge and skills of interaction with the real non-digital world, TUIs show a potential to enhance the way in which people interact with and leverage digital information. However, TUI research is still in its infancy and extensive research is required in or- der to fully understand the implications of tangible user interfaces, to develop technologies that further bridge the digital and the physical, and to guide TUI design with empirical knowledge. This paper examines the existing body of work on Tangible User In- terfaces. We start by sketching the history of tangible user interfaces, examining the intellectual origins of this field. We then present TUIs in a broader context, survey application domains, and review frame- works and taxonomies. We also discuss conceptual foundations of TUIs including perspectives from cognitive sciences, phycology, and philoso- phy. Methods and technologies for designing, building, and evaluating TUIs are also addressed. Finally, we discuss the strengths and limita- tions of TUIs and chart directions for future research

Algorithmic composition of music in real-time with soft constraints

Music has been the subject of formal approaches for a long time, ranging from Pythagoras’ elementary research on tonal systems to J. S. Bach’s elaborate formal composition techniques. Especially in the 20th century, much music was composed based on formal techniques: Algorithmic approaches for composing music were developed by composers like A. Schoenberg as well as in the scientific area. So far, a variety of mathematical techniques have been employed for composing music, e.g. probability models, artificial neural networks or constraint-based reasoning. In the recent time, interactive music systems have become popular: existing songs can be replayed with musical video games and original music can be interactively composed with easy-to-use applications running e.g. on mobile devices. However, applications which algorithmically generate music in real-time based on user interaction are mostly experimental and limited in either interactivity or musicality. There are many enjoyable applications but there are also many opportunities for improvements and novel approaches. The goal of this work is to provide a general and systematic approach for specifying and implementing interactive music systems. We introduce an algebraic framework for interactively composing music in real-time with a reasoning-technique called ‘soft constraints’: this technique allows modeling and solving a large range of problems and is suited particularly well for problems with soft and concurrent optimization goals. Our framework is based on well-known theories for music and soft constraints and allows specifying interactive music systems by declaratively defining ‘how the music should sound’ with respect to both user interaction and musical rules. Based on this core framework, we introduce an approach for interactively generating music similar to existing melodic material. With this approach, musical rules can be defined by playing notes (instead of writing code) in order to make interactively generated melodies comply with a certain musical style. We introduce an implementation of the algebraic framework in .NET and present several concrete applications: ‘The Planets’ is an application controlled by a table-based tangible interface where music can be interactively composed by arranging planet constellations. ‘Fluxus’ is an application geared towards musicians which allows training melodic material that can be used to define musical styles for applications geared towards non-musicians. Based on musical styles trained by the Fluxus sequencer, we introduce a general approach for transforming spatial movements to music and present two concrete applications: the first one is controlled by a touch display, the second one by a motion tracking system. At last, we investigate how interactive music systems can be used in the area of pervasive advertising in general and how our approach can be used to realize ‘interactive advertising jingles’.Musik ist seit langem Gegenstand formaler Untersuchungen, von Phytagoras‘ grundlegender Forschung zu tonalen Systemen bis hin zu J. S. Bachs aufwändigen formalen Kompositionstechniken. Vor allem im 20. Jahrhundert wurde vielfach Musik nach formalen Methoden komponiert: Algorithmische Ansätze zur Komposition von Musik wurden sowohl von Komponisten wie A. Schoenberg als auch im wissenschaftlichem Bereich entwickelt. Bislang wurde eine Vielzahl von mathematischen Methoden zur Komposition von Musik verwendet, z.B. statistische Modelle, künstliche neuronale Netze oder Constraint-Probleme. In der letzten Zeit sind interaktive Musiksysteme populär geworden: Bekannte Songs können mit Musikspielen nachgespielt werden, und mit einfach zu bedienenden Anwendungen kann man neue Musik interaktiv komponieren (z.B. auf mobilen Geräten). Allerdings sind die meisten Anwendungen, die basierend auf Benutzerinteraktion in Echtzeit algorithmisch Musik generieren, eher experimentell und in Interaktivität oder Musikalität limitiert. Es gibt viele unterhaltsame Anwendungen, aber ebenso viele Möglichkeiten für Verbesserungen und neue Ansätze. Das Ziel dieser Arbeit ist es, einen allgemeinen und systematischen Ansatz zur Spezifikation und Implementierung von interaktiven Musiksystemen zu entwickeln. Wir stellen ein algebraisches Framework zur interaktiven Komposition von Musik in Echtzeit vor welches auf sog. ‚Soft Constraints‘ basiert, einer Methode aus dem Bereich der künstlichen Intelligenz. Mit dieser Methode ist es möglich, eine große Anzahl von Problemen zu modellieren und zu lösen. Sie ist besonders gut geeignet für Probleme mit unklaren und widersprüchlichen Optimierungszielen. Unser Framework basiert auf gut erforschten Theorien zu Musik und Soft Constraints und ermöglicht es, interaktive Musiksysteme zu spezifizieren, indem man deklarativ angibt, ‚wie sich die Musik anhören soll‘ in Bezug auf sowohl Benutzerinteraktion als auch musikalische Regeln. Basierend auf diesem Framework stellen wir einen neuen Ansatz vor, um interaktiv Musik zu generieren, die ähnlich zu existierendem melodischen Material ist. Dieser Ansatz ermöglicht es, durch das Spielen von Noten (nicht durch das Schreiben von Programmcode) musikalische Regeln zu definieren, nach denen interaktiv generierte Melodien an einen bestimmten Musikstil angepasst werden. Wir präsentieren eine Implementierung des algebraischen Frameworks in .NET sowie mehrere konkrete Anwendungen: ‚The Planets‘ ist eine Anwendung für einen interaktiven Tisch mit der man Musik komponieren kann, indem man Planetenkonstellationen arrangiert. ‚Fluxus‘ ist eine Anwendung, die sich an Musiker richtet. Sie erlaubt es, melodisches Material zu trainieren, das wiederum als Musikstil in Anwendungen benutzt werden kann, die sich an Nicht-Musiker richten. Basierend auf diesen trainierten Musikstilen stellen wir einen generellen Ansatz vor, um räumliche Bewegungen in Musik umzusetzen und zwei konkrete Anwendungen basierend auf einem Touch-Display bzw. einem Motion-Tracking-System. Abschließend untersuchen wir, wie interaktive Musiksysteme im Bereich ‚Pervasive Advertising‘ eingesetzt werden können und wie unser Ansatz genutzt werden kann, um ‚interaktive Werbejingles‘ zu realisieren

Wavelength (April 1986)

https://scholarworks.uno.edu/wavelength/1057/thumbnail.jp

Wavelength (April 1986)

https://scholarworks.uno.edu/wavelength/1057/thumbnail.jp

Oramics: Precedents, Technology and Influence: Daphne Oram (1925-2003)

Since the recent re-emergence of the work of British composer and inventor Daphne Oram, and the purchase of her Oramics Machine by the Science Museum, and their subsequent Oramics to Electronica exhibition, there has been much enthusiastic comment and re-appraisal of her work since she faded into obscurity from the late seventies onwards. Some of her recordings have been (re)released and she is now regularly written and blogged about, yet still, relatively little is known about her in terms of real detail with regard to her research and innovational achievements. Drawing heavily on the Daphne Oram archive at Goldsmiths, and the Oramics Machine in the collection of the Science Museum, this research is an attempt to define and contextualise Oram's achievements with the Oramics Machine and her subsequent attempts to miniaturise and commercialise the concept with Mini Oramics. It is an investigation as to why her ambitious and holistic approach to electronic music production did not make a bigger impact, at a time when the palette of the electronic musician was rapidly expanding, and anyone with good ideas, technical prowess and financial backing might have succeeded, before the eventual domination and homogenisation of the synthesiser/sequencer market by the major electronics corporations of Japan; before the era of the home studio. Central to this research is the construction of a version of Mini Oramics, an existing design (of Oram’s with a considerable input from John Emmett, Norman Gaythorpe and others), which, had it been developed further and brought to market, would have become Oram's commercial and educational product. The newly constructed Mini Oramics has been experimented with and evaluated by musicians and composers. This practice-based research will inform the other strands of the research and will feed into arguments about the artistic, technical, and commercial feasibility of the Oramics Machine at what became a pivotal moment for Electronic Music and Music Technology

Proceedings of the Linux Audio Conference 2018

These proceedings contain all papers presented at the Linux Audio Conference 2018. The conference took place at c-base, Berlin, from June 7th - 10th, 2018 and was organized in cooperation with the Electronic Music Studio at TU Berlin

Art, biotechnology and the culture of peace

Biotechnology, in its voyage from ancient times into the expanding frontier areas of today's world of scientific research, has revealed itself as the gene of diplomacy and international cooperation in the relationships between nations (DaSilva, 2002). Economic and biotechnological considerations, strong elements in themselves, drive policy implementation that draws upon the support and sustenance of the public's logic and understanding of science obtained through the avenues of art and culture. More and more scientists are teaming up with artists to harness the world of microbes and biotechnology in the pursuit of one's natural well-being, of the conservation of environmental heritage, and of human comradeship and welfare. Art and culture in revealing the human face of biotechnology help engender solidarity amongst different cultures. Furthermore, they nurture individual solidarity and collective commitment in especially young children ---tomorrow's architects in the quest of the culture of a sustainable peace