畳み込みニューラルネットワークと時空間サポートベクター回帰に基づくギターの運指の自動評価システム

早大学位記番号:新7965早稲田大

Investigating Tangible and Hybrid Interactions to Augment the Reading Experience

For thousands of years, we as humans have been passing knowledge and telling stories through tangibly rich methods, beginning with writing on walls and even-tually evolving to printed books of today. However, the introduction of digital documents has recently created a world that has traded tangible richness for digital convenience. This thesis demonstrates innovative, tangible interfaces to help de-velop a possible future where digital documents can incorporate tangible elements. Furthermore, during our research, we discovered a pattern amongst people, where a hybrid approach to documents is becoming adopted. This discovery led to the investigation of hybrid experiences and the development of a system in which users can seamlessly switch between the physical and digital worlds.Each chapter of this thesis investigates a function of reading and its method both physically and digitally. Firstly we investigate the act of turning a page, a simple yet integral task of reading a modern book. This chapter explores materials and methods of bringing a tangible page-turning experience to digital books, followed by a user study and evaluation. Following this, we explore the use of tangible materials for side of device interactions. For example, printed books have many, frequently hundreds of pages, often have their edges felt, ruffled and flicked. Sev-eral interactions can be invoked through page edges, which are entirely removed from digital books. We design, develop and evaluate a guitar string-based system as a metaphor for page edges on a digital device.Many of us in this modern age carry on our person a smartphone, pretty much at all times. Smartphones have given us the ability to retrieve and read books wherever and whenever we please. However, the majority of people still prefer to read using physical methods. Having multiple formats to choose from has introduced a hybrid reading experience, where one might read physically at home and digitally whilst commuting, for example. We explore this experience, and the chapter follows a human-centred design approach to investigate, design, develop, and evaluate a digital bookmark system to switch between digital and physical books seamlessly

"Being" a Stickist: A Phenomenological Consideration of "Dwelling" in a Virtual Music Scene

Musical instruments are not static, unchanging objects. They are, instead, things that materially evolve in symmetry with human practices. Alterations to an instrument's design often attend to its ergonomic or expressive capacity, but sometimes an innovator causes an entirely new instrument to arise. One such instrument is the Chapman Stick. This instrument's history is closely intertwined with global currents that have evolved into virtual, online scenes. Virtuality obfuscates embodiment, but the Stick's world, like any instrument's, is optimally related in intercorporeal exchanges. Stickists circumvent real and virtual obstacles to engage the Stick world. Using an organology informed by the work of Heidegger and Merleau-Ponty, this study examines how the Chapman Stick, as a material "thing," speaks in and through a virtual, representational environment

Thinking through the guitar : the sound-cell-texture chain

Although the guitar has been part of the classical music tradition for centuries, writing for the guitar remains a formidable challenge for many composers. Where orchestral instruments have a long history of scoring guides that help composers develop their craft, the number of studies dedicated to guitar scoring remains scarce. This has led to a myriad of scoring problems in guitar works written by non-guitarist composers, often evidenced in unplayable passages and underdeveloped textures. The present study aims to fill this gap by establishing and developing guidelines for effective use of the classical guitar__s scoring potential. These guidelines are described through the sound-cell-texture chain, a model introduced in this study that identifies building blocks for guitar scoring that are believed to give the composer access to the scoring potential for the guitar. The second aim of this study is to use the findings of the research to compose a set of new guitar etudes.Research in and through artistic practic

Listeners’ Bodies in Music Analysis: Gestures, Motor Intentionality, and Models

In this article I demonstrate how listeners understand musical processes with their bodies, and how their gestures can be used to build analytical models. Specifically, I draw on the phenomenology of Maurice Merleau-Ponty to argue that situated, active listeners project their motor intentional gestures inside music, where they reconstitute the very nature of musical space and its objects according to their own unique perspective. Rather than passively reflecting gestures of performers, these listeners use their own bodily states to create the structure and meaning of music. I illustrate how those states can be mobilized for analysis by taking quantifiable features of gestures—acceleration and temporal profiles—as models of musical structure, and by using those models as a basis for analytical narratives. I focus on three pieces—Olga Neuwirth’s Vampyrotheone, Elliott Carter’s ASKO Concerto, and Thomas Adès’s Living Toys—in which motion-capture studies revealed the different roles of listeners’ gestures in organizing musical experience

Informed Play

Informed Play presents a conceptual understanding of tone production based on extensive historical research on primary sources, modern literature and handbook reviews, physical and psychological perspectives as well as on technology. As the first volume in English to discuss and contextualise the topic of tone production on Early Modern lute instruments from a broad, interdisciplinary approach, it represents a unique and significant contribution to research on Early Music performance, particularly performance on lute instruments. At a lute-centred level, this book challenges many preconceptions about tone production by addressing the motivations behind certain choices made in and embraced by the Early Music community. It is therefore an essential ‘desk reference’ for both researchers and performers. At a meta-level, Informed Play offers a general perspective of how self-expressive acts, physical and social causes and effects can be perceived biologically to better understand historical music performance as a social practice and phenomenon

Music mime & metamorphosis: interdisciplinary intersections, interactions and influences between music, mime and corporate communication. Doctoral project 2 (of 3): Music, mime & metamorphosis

[Abstract]: With confirmation by Kurosawa & Davidson’s (2005) research that, ‘little investigation has been undertaken to explore the nonverbal information specified in a musical performance and its functions’ (p. 112), this paper seeks to both address that lack of investigation, and simultaneously explore areas where such ‘nonverbal information’ may be highlighted, stylised and exploited, in the interests of enhancing performer/audience communication, performance confidence and stage presence in the musical context. This paper is presented in conjunction with, refers to, and supports a series of VODcasts which constitute the primary source for this analysis/discussion, and which: a) catalogue an artistic process termed by the author, ‘Blind Collaboration’, in the recording of a contemporary music album b) provide an analysis of the effects of the non-musical aspects of live musical performance in the solo acoustic performance context c) explore the application of Mime performance techniques to the music performance context with a view to enhancing stage presence, performance confidence and the performer/audience relationship. Supplementary to and supporting the VODcasts (numbered 00 to 33 inclusive, ranging in duration from approximately 0:50 – 2:00 minutes), is the inclusion of written analyses of a variety of professional Concert performances (Appendix 2), both DVD and Live, providing both broad contextual information and specific examples. This analysis also includes performances by the author (Appendix 3)

Music Notation-to-Color Synesthesia and Early Stages of Music Education: A Grounded Theory Study

Problem Synesthesia is a neurological condition characterized by over-abundant neural connectivity between commonly highly specialized areas of the brain. The developmental form of the condition often results in automatic and consistent cross-sensory associations between perceived stimuli and commonly unrelated brain regions. This research contemplates the specific form of music notation-to-color synesthesia and its impact on early stages of music education. Synesthetes with this mode of the condition tend to involuntarily yet consistently associate music-notational concepts with colors, thus rendering their assimilation of these concepts unique and individualized. The purpose of this study is to determine the extent of these individualized experiences from original narratives. Method This study entails a grounded theory qualitative approach, through which 12 from participants were interviewed cross-culturally (7 featured nationalities). All participants were adults with music notation-to-color synesthesia who experienced music instruction in a Western cultural context. Data collection methodology involved a written survey, inperson (or live Zoom) interviews, and shared document analysis. Qualitative analytical methodology was used via coding strategies to discover surfacing themes, emerging issues, and commonalities among the narratives. Results Five overarching categories of commonalities were identified in this study. Firstly, participants shared generalities of synesthetic perceptions of music notation involving color, such as their awareness about their condition, the qualities of their experiences, the conceptual basis of their associations, among other characteristics. Interviewees also alluded to the mechanisms involved in the perception of music notation, such as the positive impact of their music notation-to-color synesthesia on memory as well as the negative implications of synesthetic incongruence. The spatial location of synesthetic perceptions varied among participants. Interviewees reported projecting on the page of music and associating in their mind\u27s eye —two common themes in the literature. Some participants, however, have also mentioned a middleground location that does not fit only one of these categories. Finally, this study analyzed themes relating to the implications of this form of synesthesia for music education, with attention to awareness on the part of educators, instructional intentionality, validation, reinforcement of student individuality, and conscious use of the condition. Moreover, other themes and future research possibilities were analyzed. -- Conclusion This study arrived at two grounded theory models. The first comprises a grounded theory of the experiences shared by participants. This theoretical model articulates the salient themes, such as positive and negative traits of notation-to-color perceptions and spatial location of perceptions. In special, this theory argues for a tendency for conceptually-based notation-to-color synesthesia among participants. The second grounded theory model advanced in this research entails an educational approach that would benefit awareness and intentionality in addressing students with music notation-to-color synesthesia. It discusses philosophical foundations, a theoretical framework, and methodological considerations that may transform how music notation-to-color students are accounted for in curricula. The study concludes by offering pedagogical suggestions derived from the methodological considerations. Firstly, it advances a linear process for identification, verification, and addressing of synesthesia. Secondly, it proposes the elimination of excessive notational information and gradual learning as initial strategies that could benefit music notation-to-color synesthetes in learning new notational elements

La Cetra Cornuta : the horned lyre of the Christian World

“La Cetra Cornuta : the Horned Lyre of the Christian World ”A musical instrument of substantial importance in the history of Christianity, specifically during the Romanesque, Gothic and Renaissance periods in Italy, the cetra was the forerunner of the stringed instrument known in English since the 16th-c. as “cittern”.This study presents a detailed examination of the chordophone,featuring an iconographical catalog assembled from the visual artsc. 1100 - c. 1540. The field of iconographical data presented in the catalog is then analyzed, together with relevant literary and musictheory sources from the same period, to give a definitive account ofthe instrument’s morphology, evolution, construction, culturalidentity, musical function and repertories. Art historians as well as music historians and players of mediëval and Renaissance instruments will find answers to questions raisedabout this uniquely Italian ancestor of the High Renaissance and Baroque cittern, as will anyone seeking to gain a more focused view of musical instrument history in Italy during the centuries that shaped Western culture; for here is a stringed instrument recalling Classical Antiquity, and one of quintessential importance to both Christians and Humanists: made in ItalyResearch in and through artistic practic