Novel music discovery concepts: user experience and design implications

Current music consumers are facing an almost endless selection of music in online services to be accessed on-demand with a variety of devices. The focus has now shifted from providing on-demand access to massive music catalogs towards improving the user experience of the music services, providing new ways of finding relevant music from the massive online catalogs, and making music consumption a pleasurable experience. The key differentiation aspects for music services come largely from the user interface and the ways that music can be found or consumed. This thesis belongs to the fields of human-computer interation (HCI) and music information retrieval (MIR). HCI is concerned with the design, evaluation and implementation of interactive computing systems and MIR targets to broaden the understanding and usage of musical data through research, applications and tools. This thesis studies novel concepts for music discovery that are based on strong visual metaphors and stereotypes. The goal is to research the user experience (UX) of novel music discovery services and to formulate key design implications to support service development for music discovery. The research of music discovery prototypes consisted of three main phases: initial concept design phase, playful concept exploration phase, and iterative concept design phase. The thesis introduces, in total, ten prototype implementations of these novel concepts for music discovery. User evaluations of the implemented prototypes were conducted with Finnish active music listeners with both qualitative and quantitative research methods. This thesis contributes to both academic research on HCI in MIR and commercial music discovery service development. The results provide insights to user experience with different types of novel music discovery services. Five novel music discovery services using the same content-based music recommendation back-end were compared and the comparison results are reported including both first impressions and longer-term usage. Additionally, the results of the studies introduce a wide set of future directions for each music discovery approach. These future directions enable service developers to further enhance the music discovery experience within these fields. All but one of the proposed music discovery concepts work well for music discovery. The use of avatar characters and mood pictures for music discovery are the most promising ones. The results show that visual music discovery services have the potential to replace traditional music discovery services in different types of music discovery practices. The final contribution of the thesis is a set of 16 design implications for music discovery service developers

Visualizing Music Collections Based on Metadata: Concepts, User Studies and Design Implications

Modern digital music services and applications enable easy access to vast online and local music collections. To differentiate from their competitors, software developers should aim to design novel, interesting, entertaining, and easy-to-use user interfaces (UIs) and interaction methods for accessing the music collections. One potential approach is to replace or complement the textual lists with static, dynamic, adaptive, and/or interactive visualizations of selected musical attributes. A well-designed visualization has the potential to make interaction with a service or an application an entertaining and intuitive experience, and it can also improve the usability and efficiency of the system. This doctoral thesis belongs to the intersection of the fields of human-computer interaction (HCI), music information retrieval (MIR), and information visualization (Infovis). HCI studies the design, implementation and evaluation of interactive computing systems; MIR focuses on the different strategies for helping users seek music or music-related information; and Infovis studies the use of visual representations of abstract data to amplify cognition. The purpose of the thesis is to explore the feasibility of visualizing music collections based on three types of musical metadata: musical genre, tempo, and the release year of the music. More specifically, the research goal is to study which visual variables and structures are best suitable for representing the metadata, and how the visualizations can be used in the design of novel UIs for music player applications, including music recommendation systems. The research takes a user- centered and constructive design-science approach, and covers all the different aspects of interaction design: understanding the users, the prototype design, and the evaluation. The performance of the different visualizations from the user perspective was studied in a series of online surveys with 51-104 (mostly Finnish) participants. In addition to tempo and release year, five different visualization methods (colors, icons, fonts, emoticons and avatars) for representing musical genres were investigated. Based on the results, promising ways to represent tempo include the number of objects, shapes with a varying number of corners, and y-axis location combined with some other visual variable or clear labeling. Promising ways to represent the release year include lightness and the perceived location on the z- or x-axis. In the case of genres, the most successful method was the avatars, which used elements from the other methods and required the most screen estate. In the second part of the thesis, three interactive prototype applications (avatars, potentiometers and a virtual world) focusing on visualizing musical genres were designed and evaluated with 40-41 Finnish participants. While the concepts had great potential for complementing traditional text-based music applications, they were too simple and restricted to replace them in longer-term use. Especially the lack of textual search functionality was seen as a major shortcoming. Based on the results of the thesis, it is possible to design recognizable, acceptable, entertaining, and easy-to-use (especially genre) visualizations with certain limitations. Important factors include, e.g., the used metadata vocabulary (e.g., set of musical genres) and visual variables/structures; preferred music discovery mode; available screen estate; and the target culture of the visualizations

Explanations in Music Recommender Systems in a Mobile Setting

Revised version: some spelling errors corrected.Every day, millions of users utilize their mobile phones to access music streaming services such as Spotify. However, these `black boxes’ seldom provide adequate explanations for their music recommendations. A systematic literature review revealed that there is a strong relationship between moods and music, and that explanations and interface design choices can effect how people perceive recommendations just as much as algorithm accuracy. However, little seems to be known about how to apply user-centric design approaches, which exploit affective information to present explanations, to mobile devices. In order to bridge these gaps, the work of Andjelkovic, Parra, & O’Donovan (2019) was extended upon and applied as non-interactive designs in a mobile setting. Three separate Amazon Mechanical Turk studies asked participants to compare the same three interface designs: baseline, textual, and visual (n=178). Each survey displayed a different playlist with either low, medium, or high music popularity. Results indicate that music familiarity may or may not influence the need for explanations, but explanations are important to users. Both explanatory designs fared equally better than the baseline, and the use of affective information may help systems become more efficient, transparent, trustworthy, and satisfactory. Overall, there does not seem to be a `one design fits all’ solution for explanations in a mobile setting.Master's Thesis in Information ScienceINFO390MASV-INFOMASV-IK

Sonic Interactions in Virtual Environments: the Egocentric Audio Perspective of the Digital Twin

The relationships between the listener, physical world and virtual environment (VE) should not only inspire the design of natural multimodal interfaces but should be discovered to make sense of the mediating action of VR technologies. This chapter aims to transform an archipelago of studies related to sonic interactions in virtual environments (SIVE) into a research field equipped with a first theoretical framework with an inclusive vision of the challenges to come: the egocentric perspective of the auditory digital twin. In a VE with immersive audio technologies implemented, the role of VR simulations must be enacted by a participatory exploration of sense-making in a network of human and non-human agents, called actors. The guardian of such locus of agency is the auditory digital twin that fosters intra-actions between humans and technology, dynamically and fluidly redefining all those configurations that are crucial for an immersive and coherent experience. The idea of entanglement theory is here mainly declined in an egocentric-spatial perspective related to emerging knowledge of the listener's perceptual capabilities. This is an actively transformative relation with the digital twin potentials to create movement, transparency, and provocative activities in VEs. The chapter contains an original theoretical perspective complemented by several bibliographical references and links to the other book chapters that have contributed significantly to the proposal presented here.Comment: 46 pages, 5 figures. Pre-print version of the introduction to the book "Sonic Interactions in Virtual Environments" in press for Springer's Human-Computer Interaction Series, Open Access license. The pre-print editors' copy of the book can be found at https://vbn.aau.dk/en/publications/sonic-interactions-in-virtual-environments - full book info: https://sive.create.aau.dk/index.php/sivebook

Beyond the Electronic Connection: The Technologically Manufactured Cyber-Human and Its Physical Human Counterpart in Performance: A Theory Related to Convergence Identities

This thesis is an investigation of the complex processes and relationships between the physical human performer and the technologically manufactured cyber-human counterpart. I acted as both researcher and the physical human performer, deeply engaged in the moment-to-moment creation of events unfolding within a shared virtual reality environment. As the primary instigator and activator of the cyber-human partner, I maintained a balance between the live and technological performance elements, prioritizing the production of content and meaning. By way of using practice as research, this thesis argues that in considering interactions between cyber-human and human performers, it is crucial to move beyond discussions of technology when considering interactions between cyber-humans and human performers to an analysis of emotional content, the powers of poetic imagery, the trust that is developed through sensory perception and the evocation of complex relationships. A theoretical model is constructed to describe the relationship between a cyber-human and a human performer in the five works created specifically for this thesis, which is not substantially different from that between human performers. Technological exploration allows for the observation and analysis of various relationships, furthering an expanded understanding of ‘movement as content’ beyond the electronic connection. Each of the works created for this research used new and innovative technologies, including virtual reality, multiple interactive systems, six generations of wearable computers, motion capture technology, high-end digital lighting projectors, various projection screens, smart electronically charged fabrics, multiple sensory sensitive devices and intelligent sensory charged alternative performance spaces. They were most often collaboratively created in order to augment all aspects of the performance and create the sense of community found in digital live dance performances/events. These works are identified as one continuous line of energy and discovery, each representing a slight variation on the premise that a working, caring, visceral and poetic content occurs beyond the technological tools. Consequently, a shift in the physical human’s psyche overwhelms the act of performance. Scholarship and reflection on the works have been integral to my creative process throughout. The goals of this thesis, the works created and the resulting methodologies are to investigate performance to heighten the multiple ways we experience and interact with the world. This maximizes connection and results in a highly interactive, improvisational, dynamic, non-linear, immediate, accessible, agential, reciprocal, emotional, visceral and transformative experience without boundaries between the virtual and physical for physical humans, cyborgs and cyber-humans alike.College of Fine Arts at the University of Texas at Austin, Department of Theatre & Dance at the University of Texas at Austi

How Visualization Supports the Daily Work in Traditional Humanities on the Example of Visual Analysis Case Studies

Attempts to convince humanities scholars of digital approaches are met with resistance, often. The so-called Digitization Anxiety is the phenomenon that describes the fear of many traditional scientists of being replaced by digital processes. This hinders not only the progress of the scientific domains themselves – since a lot of digital potential is missing – but also makes the everyday work of researchers unnecessarily difficult. Over the past eight years, we have made various attempts to walk the tightrope between 'How can we help traditional humanities to exploit their digital potential?' and 'How can we make them understand that their expertise is not replaced by digital means, but complemented?' We will present our successful interdisciplinary collaborations: How they came about, how they developed, and the problems we encountered. In the first step, we will look at the theoretical basics, which paint a comprehensive picture of the digital humanities and introduces us to the topic of visualization. The field of visualization has shown a special ability: It manages to walk the tightrope and thus keeps digitization anxiety at bay, while not only making it easier for scholars to access their data, but also enabling entirely new research questions. After an introduction to our interdisciplinary collaborations with the Musical Instrument Museum of Leipzig University, as well as with the Bergen-Belsen Memorial, we will present a series of user scenarios that we have collected in the course of 13 publications. These show our cooperation partners solving different research tasks, which we classify using Brehmer and Munzner’s Task Classification. In this way, we show that we provide researchers with a wide range of opportunities: They can answer their traditional research questions – and in some cases verify long-standing hypotheses about the data for the first time – but also develop their own interest in previously impossible, new research questions and approaches. Finally, we conclude our insights on individual collaborative ideas with perspectives on our newest projects. These have risen from the growing interest of collaborators in the methods we deliver. For example, we get insights into the music of real virtuosos of the 20th century. The necessary music storage media can be heard for the first time through digital tools without risking damage to the old material. In addition, we can provide computer-aided analysis capabilities that help musicologists in their work. In the course of the visualization project at the Bergen-Belsen memorial, we will see that what was once a small diary project has grown into a multimodal and international project with institutions of culture and science from eight countries. This is dedicated not only to the question of preserving cultural objects from Nazi persecution contexts but also to modern ways of disseminating and processing knowledge around this context. Finally, we will compile our experience and accumulated knowledge in the form of problems and challenges at the border between computer science and traditional humanities. These will serve as preparation and assistance for future and current interested parties of such interdisciplinary collaborative project