The simplification of complex interactions for more inclusive social communication technologies (position paper)

New technologies, especially smart homes and mobile and ubiquitous technologies have the potential to foster improved quality of life in the older population. Some anticipated benefits are linked to specific applications in areas such as home automation, communication, shopping and health. However, some valuable potential benefits lie in building and sustaining relationships with remote extended family, particularly children and grandchildren, as well as with carers, neighbours and friends. Communication with geographically remote family can play an important role in helping to sustain autonomy, inclusion and independence. Reduction in isolation and improved participation have the potential to improve or sustain quality of life, but in addition they can lead to a reduction in vulnerability and sustained physical health. Another benefit can be to reassure adult children about the viability of their parent's independent living. Broadband "always-on" communications are potentially particularly useful tools in sustaining geographically remote relationships with extended family, as they can support many useful kinds of interaction, using modalities such as voice, video, pervasive annotation, selection, and remote concierging. Unfortunately, many possible new interactions are currently complex to manage, ruling them out on grounds of poor acceptability, accessibility and usability. However, our hypothesis is that a new interaction framework that combines social and technical components could be used to simplify many interactions of the kinds noted above sufficiently to the point where they would be rendered acceptable, accessible and usable. This paper outlines plans to test such a framework

Harmony and Technology Enhanced Learning

New technologies offer rich opportunities to support education in harmony. In this chapter we consider theoretical perspectives and underlying principles behind technologies for learning and teaching harmony. Such perspectives help in matching existing and future technologies to educational purposes, and to inspire the creative re-appropriation of technologies

A first empirical study of direct combination in a ubiquitous environment

In dynamic ubiquitous environments, end users may need to create services by causing two or more devices or resources to interoperate together in ad-hoc circumstances. In general, users can find this kind of process hard to manage. At the same time, existing UI architectures are not well suited to supporting such activities. It is proposed that a good basis for addressing these and related problems in a principled, scaleable way is the principle of Direct Combination (DC). The principle is summarized, and analytical arguments are presented that predict that DC can reduce the amount of search required by the user. Other things being equal, such a reduction in search would be expected to offer interactions which are faster, less frustrating, and impose less mental load on the user. We present a proof-of-concept implementation, and a small-scale evaluation of a DC interface. Within the limitations of a preliminary evaluation, consistent support is offered across several measures for the analytical predictions

Reflective Composition: the declarative composition of roles to unify objects, roles, and aspects [poster session]

As bases for object-orientation, both class-based and prototype-based organization have limitations. We argue that roles have significant benefits as a foundation for organizing objects. We further argue that these benefits can be realised most flexibly using logic meta-programming. Additional benefits from this approach are to reduce redundancy and subsume aspects

Designing a Highly Expressive Algorithmic Music Composition System for Non-Programmers

Algorithmic composition systems allow for the partial or total automation of music composition by formal, computational means. Typical algorithmic composition systems generate nondeterministic music, meaning that multiple musical outcomes can result from the same algorithm - consequently the output is generally different each time the algorithm runs

A Critical Analysis of Synthesizer User Interfaces for Timbre

In this paper, we review and analyse categories of user interface used in hardware and software electronic music synthesizers. Problems with the user specification and modification of timbre are discussed. Three principal types of user interface for controlling timbre are distinguished. A problem common to all three categories is identified: that the core language of each category has no well-defined mapping onto the task languages of subjective timbre categories as used by musicians

Choosers: The design and evaluation of a visual algorithmic music composition language for non-programmers

Algorithmic music composition involves specifying music in such a way that it is non-deterministic on playback, leading to music which has the potential to be different each time it is played. Current systems for algorithmic music composition typically require the user to have considerable programming skill and may require formal knowledge of music. However, much of the potential user population are music producers and musicians (some professional, but many amateur) with little or no programming experience and few formal musical skills. To investigate how this gap between tools and potential users might be better bridged we designed Choosers, a prototype algorithmic programming system centred around a new abstraction (of the same name) designed to allow non-programmers access to algorithmic music composition methods. Choosers provides a graphical notation that allows structural elements of key importance in algorithmic composition (such as sequencing, choice, multi-choice, weighting, looping and nesting) to be foregrounded in the notation in a way that is accessible to non-programmers. In order to test design assumptions a Wizard of Oz study was conducted in which seven pairs of undergraduate Music Technology students used Choosers to carry out a range of rudimentary algorithmic composition tasks. Feedback was gathered using the Programming Walkthrough method. All users were familiar with Digital Audio Workstations, and as a result they came with some relevant understanding, but also with some expectations that were not appropriate for algorithmic music work. Users were able to successfully make use of the mechanisms for choice, multi-choice, looping, and weighting after a brief training period. The ‘stop’ behaviour was not so easily understood and required additional input before users fully grasped it. Some users wanted an easier way to override algorithmic choices. These findings have been used to further refine the design of Choosers

Exploring the Digital Music Instrument Trombosonic with Extreme Users and at a Participatory Performance

We introduce the “Trombosonic” as a new digital music instrument inspired by the slide trombone. An ultrasonic sensor combined with a red laser allows the performer to play the instrument using similar movements to playing a trombone to change the pitch, despite the absence of a physical slider, by moving one hand back and forth. Additional sensors enhance the potential for musical expression by movement of the whole interface and by using the breath. We identify and discuss a variety of design issues arising from the Trombosonic. Due to its compact size and the lack of a slider, the Trombosonic can be played in many different ways. In order to explore varied potential uses of the Trombosonic, we carried out a series of informal evaluations. These included experts in new musical instruments, an older user, a younger user, an interaction design expert, and the audience at an experimental concert with audience participation. Future work is also discussed. Further technical development might include a built-in microphone to use the human voice and an expansion of the synthesiser’s features

Choosers: designing a highly expressive algorithmic music composition system for non-programmers

We present an algorithmic composition system designed to be accessible to those with minimal programming skills and little musical training, while at the same time allowing the manipulation of detailed musical structures more rapidly and more fluidly than would normally be possible for such a user group. These requirements led us to devise non- standard programming abstractions as the basis for a novel graphical music programming language in which a single basic element permits indeterminism, parallelism, choice, multi-choice, recursion, weighting and looping. The system has general musical expressivity, but for simplicity here we focus on manipulating samples. The musical abstractions behind the system have been implemented as a set of SuperCollider classes to enable end-user testing of the graphical programming language via a Wizard of Oz prototyping methodology. The system is currently being tested with undergraduate Music Technology students who are typically neither programmers, nor traditional musicians