Volume 1, Issue 1, January 2011 - DROPS - Schloss Dagstuhl
Volume 1, Issue 1, January 2011 - DROPS - Schloss Dagstuhl
Volume 1, Issue 1, January 2011 - DROPS - Schloss Dagstuhl
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Meinard Müller, Masataka Goto, and Simon Dixon 77<br />
3.6 Multimodality in Human Computer Music Performance<br />
Roger B. Dannenberg (CMU - Pittsburgh, US)<br />
License Creative Commons BY-NC-ND 3.0 Unported license<br />
© Roger B. Dannenberg<br />
Human Computer Music Performance (HCMP) is the integration of computer performers<br />
into popular live music. At present, HCMP exists only in very limited forms, due to a lack<br />
of understanding of how computer performers might operate in the context of live music<br />
and a lack of supporting research and technology. I believe we need to envision a future<br />
performance practice that involves computers as musicians. An immediate realization is that<br />
non-audio communication is of the utmost importance in real-world music performance. By<br />
thinking about HCMP, we discover many interesting multimodal problems. These include:<br />
music notation and its use as a two-way communication channel in live performance, musical<br />
gestures for conducting and cuing, processing live multi-channel audio, coordination with<br />
video and projections in performance, multiples sensors and modalities for beat and measure<br />
tracking, and semantic processing concerning intention, emotion, and creation in multiple<br />
media.<br />
3.7 Multimodal Music Exercises<br />
Christian Dittmar (Fraunhofer Institute for Digital Media Technology - Ilmenau, DE)<br />
License Creative Commons BY-NC-ND 3.0 Unported license<br />
© Christian Dittmar<br />
URL http://www.songs2see.eu<br />
We presented the project Songs2See that combines multiple music related modalities in<br />
order to assist users while learning a musical instrument. The developed software helps<br />
budding musicians to do their exercises on the instrument they are acquiring. The concept<br />
is similar to music video games; the main difference is the usage of real music instruments<br />
instead of game controllers. The most important modalities are the music score and the<br />
corresponding music recording, but additional, interactive visualizations supplement the<br />
application. We demonstrated the creation of new exercise content by means of semiautomatic<br />
music transcription, where backing tracks, which can be used to play along<br />
with, are extracted from real-world music recordings. This is achieved using symbolic note<br />
transcriptions to initialize the time-varying parameters of a source separation algorithm.<br />
At any stage of the content creation process, the user can intervene and correct possibly<br />
erroneous transcription results.<br />
3.8 Association and Linking of Related Music Information<br />
Simon Dixon (Queen Mary University of London, GB)<br />
License Creative Commons BY-NC-ND 3.0 Unported license<br />
© Simon Dixon<br />
Many types of music information are available on the Web and in libraries and music<br />
databases, including structured and unstructured text (e.g. biographical metadata); complete<br />
or partial scores (e.g. chords, tabs, lead sheets, lyrics); and recordings of performances (e.g.<br />
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