Universitat Pompeu Fabra, Barcelona, Spain; 15-16 September,
2004.
Carley Tanoue
Los Angeles, California, USA
The Fourth MUSICNETWORK Open Workshop was held at
the Universitat Pompeu Fabra, in Barcelona, Spain, on 15-16 September,
2004. The workshop is funded by the European Commission and was established
to help merge music and interactive multimedia. The MUSICNETWORK is
a Center of Excellence established for the purpose of bringing composers,
cultural institutions, industry, and research institutions together
in order to share ideas. The Center draws on the knowledge base of
these groups in order to nurture the potentials of marrying multimedia
music content with new technologies, tools, products, formats, and
models. The workshop was collocated in Barcelona with the MPEG Ad Hoc
Group on Symbolic Music Representation, SMR, 14-15 September, and the
WEDELMUSIC 2004 International Conference, 13-14 September, 2004.
Over
two days, there were 14 paper presentations each allotted 30 minutes,
three tutorial sessions each allotted 60 minutes, and the ongoing Symbolic
Music Representation discussion co-occurring with the presentations.
The workshop attendance was relatively small, consisting of primarily
the conference organizers and those presenting. The main advantage
of having a modestly-sized group was that the intimate environment
was conducive to meeting other attendees and to networking with key
players in the development and use of new technologies, tools, products,
formats, and models of multimedia music content. The disadvantage of
the assembly size stemmed more from reaction than observation; one
reaction was disappointment because the limited size could be interpreted
either as a general lack of interest in the subject or as a failure
to reach a broader audience to generate more interest. But, despite
the attendance quantity, the quality of the workshop did not disappoint.
Even
though it may appear as if the main focus of the workshop was the Symbolic
Music Representation discussion, which in itself is a
valuable topic worthy of attention, it is the opinion of this author
that the real benefits of the workshop lie in the research and project
presentations. The mixed technical levels and the broad range of the
topics covered acted as a double-edged sword; there were a limited
number of technical papers presented, but the diversity of levels allowed
for entertaining “breathers” and demonstrations of real-life
examples of what the technical papers are trying to achieve. The broad
range of topics covered acted as a brief introduction to current research
in a variety of different areas that might not usually be seen together,
otherwise. This opens a great opportunity for researchers to expand
the scope of their research to incorporate different ideas or even
to check that their research is applicable to the needs of the music
community. The hospitality of the chairs and hosting University was
superlative, making the overall experience an enjoyable one.
The MUSICNETWORK
Open Workshop was chaired in an informal style by numerous members,
including Paolo Nesi of Department of Systems and
Informatics of the University of Florence (DSI), David Crombie of FNB
Netherlands, Pierfrancesco Bellini of DSI, Jerome Barthelemy of Institut
de Recherche et Coordination Acoustique/Musique (IRCAM), David Fuschi
of Interactive Labs (ILABS) Giunti Publishing Group, Martin Schmucker
of Fraunhofer Institute for Computer Graphics (FHG IGD), Francesco
Spadoni of RIGEL Engineering, and Bee Ong and Kia Ng of the University
of Leeds.
The categories of presentations were, in order of
schedule, Music Notation, Analysis, Education, Presence and Multisensor,
Distribution,
and Performance
and Multimedia. The Open Workshop also hosted the EUROPRIX Multimedia
Top Talent Award (www.toptalent.europrix.org) in which the winner,
Erik Bünger, presented his project “Let Them Sing It For
You.” The project is a delightful demonstration of sound art
that turns a text message into a concatenated sequence of excerpts
from popular song recordings to “sing” each word. The Web-based
interface to the system, in which a user can create a message to be
emailed to a friend, can be found at www.sr.se/cgi-bin/p1/src/sing/default.asp.
Music
Notation
Dr. Hartmut Ring presented CapXML (www.math.uni-siegen.de/ring), a
version of the Extensible Markup Language (XML) that uses a notation
program called Capella. It rivals the ease of use of MusicXML to represent
music notation on the Web. Moreno Andreatta presented OpenMusic (recherche.ircam.fr/equipes/repmus/OpenMusic),
a program designed to visually model music and which includes a deterministic
method for replicating scales by focusing on the algebraic approach
to the formalization and computer-aided representation of musical structure.
Analysis
Kia Ng presented work on paper digitization and analysis through a
process that utilizes two new digital imaging systems recently installed
at the University of Leeds Interdisciplinary Center for Scientific
Research in Music. A back lighting technique is used to apply even
lighting behind the paper; by so doing, invisible paper attributes
such as watermarks and paper texture can be unveiled and digitally
stored. Maurizio Gabrieli presented SCORESIFTER, a graphical and statistical
analyzer of scores that takes MIDI from a common notation software
score and analyzes its melodic and motivic content. The resulting segmentations,
thematic analysis, and linear passages are displayed in tables and
graphs.
Education
Jacqueline Castaing presented MUSICDRAW, a teaching tool that allows
young children to draw lines within a computer-based program in which
the length, angle, and color of each line maps to a given pitch and
duration to produce a musical interpretation of the drawing. The goal
of MUSICDRAW is to use methods developed in image analysis to locate
motives and other patterns. Celia Duffy presented HOTBED (www.hotbed.ac.uk),
a collection of sound resources for the preservation of Scottish music
through the teaching of music and styles using traditional means that
have been digitized, via sound and video recordings, to fit online
capabilities.
Oliver Sebastien and Noël Conruyt presented E-Guitare (e-guitare.univ-reunion.fr),
an instrumental e-learning project that is as entertaining as it is
instructional. A DVD recording of a lesson allows the student to recreate
the lesson environment with the teacher by providing different viewing
angles, close-ups, a slow motion feature, backwards motion, loops,
etc., which the student can utilize until he/she is able to play along
with the teacher. Lastly, the HARMOS (www.harmosproject.com)
project was presented. It is also an e-content project in which students
can
learn from masters via video and sound multimedia data.
Presence and
Multisensor
Hans Timmermans presented MEDIATE (web.port.ac.uk/mediate/mediate.html),
an interactive, multi-sensory, responsive environment designed to stimulate
interaction and expression in children with autism through visual,
auditory, and tactile means. The project consists of a transportable
enclosed room with visual, audio, and tactile elements. These include
the “Tune Fork” and the vibrating “Impression Wall,” that
sense movement and respond with visual and audio events.
Distribution
Marcellus Buchheit presented CodeMeter (codemeter.com/us),
a Digital Rights Management (DRM) System that was adapted to protect
music content
against piracy. The CodeMeter architecture is developed by WUBU-SYSTEMS
and adopted to different market requirements within the EU project
PAIDFAIR. Giovanni Tummarello and Christian Morbidoni presented an
overview of the DBin Project which focuses on Peer-to-Peer (P2P) Multimedia
Annotation and browsing based on Semantic Web and MPEG-7. The presenters
demonstrated their system using a P2P database search for beer.
Performance
and Multimedia
Nuno Correia presented a multimedia application with interactive digital
animation for music performance which was built in Macromedia Flash
and is currently used in live performances. Carley Tanoue presented
recent collaborative performance experiments of the Distributed Immersive
Performance (imsc.usc.edu/dip)
project at the University of Southern California’s Integrated
Media Systems Center. Distributed Immersive Performance is a comprehensive
framework for the capture, recording,
and replay of high-resolution video, audio, and MIDI streams in an
interactive environment in which collaborative music performance and
user-based experiments help determine the effects of latency in aural
response on performers’ satisfaction in creating a tight ensemble
and a musical interpretation. High-definition video samples and preliminary
results from experiments with the Tosheff Piano Duo were presented
along with a preview of future experiments.
Conclusion
More information on the MUSICNETWORK Open Workshop, including papers
and PowerPoint presentations, may be found at www.interactivemusicnetwork.org.
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