A Conceptual Framework for Motion Based Music Applications

Imaginary projections are the core of the framework for motion based music applications presented in this paper. Their design depends on the space covered by the motion tracking device, but also on the musical feature involved in the application. They can be considered a very powerful tool because they allow not only to project in the virtual environment the image of a traditional acoustic instrument, but also to express any spatially defined abstract concept. The system pipeline starts from the musical content and, through a geometrical interpretation, arrives to its projection in the physical space. Three case studies involving different motion tracking devices and different musical concepts will be analyzed. The three examined applications have been programmed and already tested by the authors. They aim respectively at musical expressive interaction (Disembodied Voices), tonal music knowledge (Harmonic Walk) and XX century music composition (Hand Composer)

Preserving today for tomorrow: A case study of an archive of Interactive Music Installations

This work presents the problems addressed and the first results obtained by a project aimed at the preservation of Interactive Music Installations (IMI). Preservation requires that besides all the necessary components for the (re)production of a performance, also the knowledge about these components is kept, so that the original process can be repeated at any given time. This work proposes a multilevel approach for the preservation of IMI. As case studies, the Pinocchio Square (installed in EXPO 2002) and the Il Caos delle Sfere are considered

Hospital

Mientras está ingresado en la planta de un hospital, el protagonista tiene un encuentro casual con una antigua amiga, también ingresada, que le hace reflexionar sobre los viejos tiempos con un sentimiento de camaradería y desamparo compartido.While is admitted to the floor of a hospital, the protagonist has a chance encounter with an old friend, also entered, which makes him think about the old days with a sense of camaraderie and shared helplessness.Ao ser admitido no andar de um hospital, o protagonista tem um encontro casual com um velho amigo, também entrou, o que faz você pensar sobre os velhos tempos com um sentido de camaradagem e impotência compartilhado

The \u201cHarmonic Walk\u201d and Enactive Knowledge: an Assessment Report

The Harmonic Walk is an interactive, physical environment based on user\u2019s motion detection and devoted to the study and practice of tonal harmony. When entering the rectangular floor surface within the application\u2019s camera view, a user can actually walk inside the musical structure, causing a sound feedback depending on the occupied zone. We arranged a two masks projection set up to allow users to experience melodic segmentation and tonality harmonic space, and we planned two phase assessment sessions, submitting a 22 high school student group to various test conditions. Our findings demonstrate the high learning effectiveness of the Harmonic Walk application. Its ability to transfer abstract concepts in an enactive way, produces important improvement rates both for subjects who received explicit information and for subjects who didn\u2019t

Is Vivaldi smooth and takete? Non-verbal sensory scales for describing music qualities

Studies on the perception of music qualities (such as induced or perceived emotions, performance styles, or timbre nuances) make a large use of verbal descriptors. Although many authors noted that particular music qualities can hardly be described by means of verbal labels, few studies have tried alternatives. This paper aims at exploring the use of non-verbal sensory scales, in order to represent different perceived qualities in Western classical music. Musically trained and untrained listeners were required to listen to six musical excerpts in major key and to evaluate them from a sensorial and semantic point of view (Experiment 1). The same design (Experiment 2) was conducted using musically trained and untrained listeners who were required to listen to six musical excerpts in minor key. The overall findings indicate that subjects\u2019 ratings on non-verbal sensory scales are consistent throughout and the results support the hypothesis that sensory scales can convey some specific sensations that cannot be described verbally, offering interesting insights to deepen our knowledge on the relationship between music and other sensorial experiences. Such research can foster interesting applications in the field of music information retrieval and timbre spaces explorations together with experiments applied to different musical cultures and contexts

Mozart is still blue: a comparison of sensory and verbal scales to describe qualities in music

An experiment was carried out in order to assess the use of non-verbal sensory scales for evaluating perceived music qualities, by comparing them with the analogous verbal scales. Participants were divided into two groups; one group (SV) completed a set of non-verbal scales responses and then a set of verbal scales responses to short musical extracts. A second group (VS) completed the experiment in the reverse order. Our hypothesis was that the ratings of the SV group can provide information unmediated (or less mediated) by verbal association in a much stronger way than the VS group. Factor analysis performed separately on the SV group, the VS group and for all participants shows a recurring patterning of the majority of sensory scales versus the verbal scales into different factors. Such results suggest that the sensory scale items are indicative of a different semantic structure than the verbal scales in describing music, and so they are indexing different qualities (perhaps ineffable), making them potentially special contributors to understanding musical experience

Calcite fibre formation in modern brachiopod shells

The fibrous calcite layer of modern brachiopod shells is a hybrid composite material and forms a substantial part of the hard tissue. We investigated how cells of the outer mantle epithelium (OME) secrete calcite material and generate the characteristic fibre morphology and composite microstructure of the shell. We employed AFM, FE-SEM, and TEM imaging of embedded/etched, chemically fixed/ decalcified and high-pressure frozen/freeze substituted samples. Calcite fibres are secreted by outer mantle epithelium (OME) cells. Biometric analysis of TEM micrographs indicates that about 50% of these cells are attached via hemidesmosomes to an extracellular organic membrane present at the proximal, convex surface of the fibres. At these sites, mineral secretion is not active. Instead, ion transport from OME cells to developing fibres occurs at regions of closest contact between cells and fibres, however only at sites where the extracellular membrane at the proximal fibre surface is not developed yet. Fibre formation requires the cooperation of several adjacent OME cells. It is a spatially and temporally changing process comprising of detachment of OME cells from the extracellular organic membrane, mineral secretion at detachment sites, termination of secretion with formation of the extracellular organic membrane, and attachment of cells via hemidesmosomes to this membrane.This is a BASE-LINE Earth project supported by the European Union’s Horizon 2020 research and innovation program under grant agreement No. 643084. This is publication nr. 159 of Huinay Scientific Field Station

Preserving today for tomorrow: a case study of an archive of Interactive Music Installations

Περιέχει το πλήρες κείμενοThis work presents the problems addressed and the first results obtained by a project aimed at the preservation of Interactive Music Installations (IMI). Preservation requires that besides all the necessary components for the (re)production of a performance, also the knowledge about these components is kept, so that the original process can be repeated at any given time. This work proposes a multilevel approach for the preservation of IMI. As case studies, the Pinocchio Square (installed in EXPO 2002) and the Il Caos delle Sfere are considered

Relativistic simulations of rotational core collapse : II. Collapse dynamics and gravitational radiation

We have performed hydrodynamic simulations of relativistic rotational supernova core collapse in axisymmetry and have computed the gravitational radiation emitted by such an event. The Einstein equations are formulated using the conformally flat metric approximation, and the corresponding hydrodynamic equations are written as a first-order flux-conservative hyperbolic system. Details of the methodology and of the numerical code have been given in an accompanying paper. We have simulated the evolution of 26 models in both Newtonian and relativistic gravity. The initial configurations are di erentially rotating relativistic 4=3-polytropes in equilibrium which have a central density of 10^10 g cm^−3. Collapse is initiated by decreasing the adiabatic index to some prescribed fixed value. The equation of state consists of a polytropic and a thermal part for a more realistic treatment of shock waves. Any microphysics like electron capture and neutrino transport is neglected. Our simulations show that the three di erent types of rotational supernova core collapse and gravitational waveforms identified in previous Newtonian simulations (regular collapse, multiple bounce collapse, and rapid collapse) are also present in relativistic gravity. However, rotational core collapse with multiple bounces is only possible in a much narrower parameter range in relativistic gravity. The relativistic models cover almost the same range of gravitational wave amplitudes (4x10^−21 <= h^TT 3x10^−20 for a source at a distance of 10 kpc) and frequencies (60 Hz <= ν <= 1000 Hz) as the corresponding Newtonian ones. Averaged over all models, the total energy radiated in the form of gravitational waves is 8.2 10^−8 Moc^2 in the relativistic case, and 3.6 10^−8 Moc^2 in the Newtonian case. For all collapse models that are of the same type in both Newtonian and relativistic gravity, the gravitational wave signal is of lower amplitude. If the collapse type changes, either weaker or stronger signals are found in the relativistic case. For a given model, relativistic gravity can cause a large increase of the characteristic signal frequency of up to a factor of five, which may have important consequences for the signal detection. Our study implies that the prospects for detection of gravitational wave signals from axisymmetric supernova rotational core collapse do not improve when taking into account relativistic gravity. The gravitational wave signals obtained in our study are within the sensitivity range of the first generation laser interferometer detectors if the source is located within the Local Group. An online catalogue containing the gravitational wave signal amplitudes and spectra of all our models is available at the URL http://www.mpa-garching.mpg.de/Hydro/hydro.html.Font Roda, Jose Antonio, [email protected]