New NIME paper: “The ‘Virtualmonium’: an instrument for classical sound diffusion over a virtual loudspeaker orchestra”

The third NIME contribution from the fourMs lab this year was the paper:

The ‘Virtualmonium’: an instrument for classical sound diffusion over a virtual loudspeaker orchestra

Despite increasingly accessible and user-friendly multi-channel compositional tools, many composers still choose stereo formats for their work, where the compositional process is allied to diffusion performance over a ‘classical’ loudspeaker orchestra. Although such orchestras remain common within UK institutions as well as in France, they are in decline in the rest of the world. In contrast, permanent, high-density loudspeaker arrays are on the rise, as is the practical application of 3-D audio technologies. Looking to the future, we need to reconcile the performance of historical and new stereo works, side-byside native 3-D compositions. In anticipation of this growing need, we have designed and tested a prototype ‘Virtualmonium’. The Virtualmonium is an instrument for classical diffusion performance over an acousmonium emulated in higher-order Ambisonics. It allows composers to custom-design loudspeaker orchestra emulations for the performance of their works, rehearse and refine performances off-site, and perform classical repertoire alongside native 3-D formats in the same concert. This paper describes the technical design of the Virtualmonium, assesses the success of the prototype in some preliminary listening tests and concerts, and speculates how the instrument can further composition and performance practice.

Reference
Barrett, N., & Jensenius, A. R. (2016). The “Virtualmonium”: an instrument for classical sound diffusion over a virtual loudspeaker orchestra. In Proceedings of the International Conference on New Interfaces For Musical Expression (pp. 55–60). Brisbane.

BibTeX

@inproceedings{barrett_virtualmonium:_2016,
    address = {Brisbane},
    title = {The ‘{Virtualmonium}’: an instrument for classical sound diffusion over a virtual loudspeaker orchestra},
    abstract = {Despite increasingly accessible and user-friendly multi-channel compositional tools, many composers still choose stereo formats for their work, where the compositional process is allied to diffusion performance over a ‘classical’ loudspeaker orchestra. Although such orchestras remain common within UK institutions as well as in France, they are in decline in the rest of the world. In contrast, permanent, high-density loudspeaker arrays are on the rise, as is the practical application of 3-D audio technologies. Looking to the future, we need to reconcile the performance of historical and new stereo works, side-byside native 3-D compositions. In anticipation of this growing need, we have designed and tested a prototype ‘Virtualmonium’. The Virtualmonium is an instrument for classical diffusion performance over an acousmonium emulated in higher-order Ambisonics. It allows composers to custom-design loudspeaker orchestra emulations for the performance of their works, rehearse and refine performances off-site, and perform classical repertoire alongside native 3-D formats in the same concert. This paper describes the technical design of the Virtualmonium, assesses the success of the prototype in some preliminary listening tests and concerts, and speculates how the instrument can further composition and performance practice.},
    booktitle = {Proceedings of the {International} {Conference} on {New} {Interfaces} {For} {Musical} {Expression}},
    author = {Barrett, Natasha and Jensenius, Alexander Refsum},
    year = {2016},
    pages = {55--60},
    file = {Barrett_Jensenius_2016_The_‘Virtualmonium’.pdf:/home/alexarje/Dropbox/Reference/Zotero/Barrett_Jensenius/Barrett_Jensenius_2016_The_‘Virtualmonium’.pdf:application/pdf}
}

New paper: “NIMEhub: Toward a Repository for Sharing and Archiving Instrument Designs”

At NIME we have a large archive of the conference proceedings, but we do not (yet) have a proper repository for instrument designs. For that reason I took part in a workshop on Monday with the aim to lay the groundwork for a new repository:

NIMEhub: Toward a Repository for Sharing and Archiving Instrument Designs [PDF]

This workshop will explore the potential creation of a community database of digital musical instrument (DMI) designs. In other research communities, reproducible research practices are common, including open-source software, open datasets, established evaluation methods and community standards for research practice. NIME could benefit from similar practices, both to share ideas amongst geographically distant researchers and to maintain instrument designs after their first performances. However, the needs of NIME are different from other communities on account of NIME’s reliance on custom hardware designs and the interdependence of technology and arts practice. This half-day workshop will promote a community discussion of the potential benefits and challenges of a DMI repository and plan concrete steps toward its implementation.

Reference
McPherson, A. P., Berdahl, E., Lyons, M. J., Jensenius, A. R., Bukvic, I. I., & Knudsen, A. (2016). NIMEhub: Toward a Repository for Sharing and Archiving Instrument Designs. In Proceedings of the International Conference on New Interfaces For Musical Expression. Brisbane.

BibTeX

@inproceedings{mcpherson_nimehub:_2016,
    address = {Brisbane},
    title = {{NIMEhub}: {Toward} a {Repository} for {Sharing} and {Archiving} {Instrument} {Designs}},
    abstract = {This workshop will explore the potential creation of a community database of digital musical instrument (DMI) designs. In other research communities, reproducible research practices are common, including open-source software, open datasets, established evaluation methods and community standards for research practice. NIME could benefit from similar practices, both to share ideas amongst geographically distant researchers and to maintain instrument designs after their first performances. However, the needs of NIME are different from other communities on account of NIME's reliance on custom hardware designs and the interdependence of technology and arts practice. This half-day workshop will promote a community discussion of the potential benefits and challenges of a DMI repository and plan concrete steps toward its implementation.},
    booktitle = {Proceedings of the {International} {Conference} on {New} {Interfaces} {For} {Musical} {Expression}},
    author = {McPherson, Andrew P. and Berdahl, Edgar and Lyons, Michael J. and Jensenius, Alexander Refsum and Bukvic, Ivica Ico and Knudsen, Arve},
    year = {2016},
    file = {McPherson_et_al_2016_NIMEhub.pdf:/home/alexarje/Dropbox/Reference/Zotero/McPherson et al/McPherson_et_al_2016_NIMEhub.pdf:application/pdf}
}

New NIME paper: “Trends at NIME – Reflections on Editing ‘A NIME Reader'”

Michael J. Lyons and myself have been working on an edited collection of papers from the NIME conference over the last year, and we presented some reflections on this work at NIME yesterday.

Trends at NIME – Reflections on Editing “A NIME Reader” [PDF]

This paper provides an overview of the process of editing the forthcoming anthology “A NIME Reader—Fifteen years of New Interfaces for Musical Expression.” The selection process is presented, and we reflect on some of the trends we have observed in re-discovering the collection of more than 1200 NIME papers published throughout the 15 yearlong history of the conference. An anthology is necessarily selective, and ours is no exception. As we present in this paper, the aim has been to represent the wide range of artistic, scientific, and technological approaches that characterize the NIME conference. The anthology also includes critical discourse, and through acknowledgment of the strengths and weaknesses of the NIME community, we propose activities that could further diversify and strengthen the field.

Here are slides from the presentation, including a nice word-cloud made from the content of the book.

Reference
Jensenius, A. R., & Lyons, M. J. (2016). Trends at NIME – Reflections on Editing “A NIME Reader.” In Proceedings of the International Conference on New Interfaces For Musical Expression (pp. 439-443). Brisbane.

BibTeX

@inproceedings{jensenius_trends_2016,
    address = {Brisbane},
    title = {Trends at {NIME} - {Reflections} on {Editing} "{A} {NIME} {Reader}"},
    abstract = {This paper provides an overview of the process of editing the forthcoming anthology "A NIME Reader---Fifteen years of New Interfaces for Musical Expression". The selection process is presented, and we reflect on some of the trends we have observed in re-discovering the collection of more than 1200 NIME papers published throughout the 15 yearlong history of the conference. An anthology is necessarily selective, and ours is no exception. As we present in this paper, the aim has been to  represent the wide range of artistic, scientific, and technological approaches that characterize the NIME conference. The anthology also includes critical discourse, and through acknowledgment of the strengths and weaknesses of the NIME community, we propose activities that could further diversify and strengthen the field.},
    booktitle = {Proceedings of the {International} {Conference} on {New} {Interfaces} {For} {Musical} {Expression}},
    author = {Jensenius, Alexander Refsum and Lyons, Michael J.},
    year = {2016},
    pages = {439--443}
}

 

Hiring one PhD and one Postdoc for MICRO

I am happy to announce that I am recruiting one PhD fellow and one postdoctoral fellow for my new project MICRO – Human Bodily Micromotion in Music Perception and Interaction. A graphical overview of the project can be seen in the sketch below:

Screenshot from 2016-07-02 19-04-31

Quick facts about the positions

  • Application deadline: 31 August 2016
  • Start time: from January 2017 (negotiable)
  • Appointment period: Phd: 3+1 years (last year conditional on completion of dissertation). Postdoc: 4 years (including 25% teaching/supervision)
  • Salary: starting from NOK430 500 (PhD) and NOK483 400 (postdoc)

Aims of MICRO
How and why does music make us move? This has been a highly discussed topic in musicology and music psychology in recent years. Most of the research in the field has so far focused on fairly large-scale motion to music, such as dancing. This project will investigate how music influences what we may call micromotion, such as the tiny motion observed when people try to stand still. Even though such micromotion is barely visible, it can be measured in a motion capture laboratory. This makes it possible to carry out studies of the effects of music on micromotion. Results of the project will include:

  • knowledge about how music influences human motion at the micro-level
  • a large, open database of micromotion recordings
  • prototype software for using micromotion in interactive music systems

The project is based on the most recent research in musicology, psychology and neuroscience, and will build on findings in the Sverm project. Most of the research will be carried out in the music and motion lab at the Department of Musicology, and will be affiliated with the fourMs group.

The applicants are expected to propose an individual sub-project that fits within the larger scope of the project.

About MICRO
MICRO is funded from the Norwegian Research Council’s program Young Research Talents, and is running from late 2016 to 2020. We expect the PhD and postdoctoral fellows to start early 2017.

nnmr_a_1184689_f0001_b

New paper: Exploring Sound-Motion Similarity in Musical Experience

New paper in Journal of New Music Research:nnmr_a_1184689_f0001_b

Exploring Sound-Motion Similarity in Musical Experience (fulltext)
Godøy, Rolf Inge; Song, Min-Ho; Nymoen, Kristian; Haugen, Mari Romarheim & Jensenius, Alexander Refsum

Abstract: People tend to perceive many and also salient similarities between musical sound and body motion in musical experience, as can be seen in countless situations of music performance or listening to music, and as has been documented by a number of studies in the past couple of decades. The so-called motor theory of perception has claimed that these similarity relationships are deeply rooted in human cognitive faculties, and that people perceive and make sense of what they hear by mentally simulating the body motion thought to be involved in the making of sound. In this paper, we survey some basic theories of sound-motion similarity in music, and in particular the motor theory perspective. We also present findings regarding sound-motion similarity in musical performance, in dance, in so-called sound-tracing (the spontaneous body motions people produce in tandem with musical sound), and in sonification, all in view of providing a broad basis for understanding sound-motion similarity in music.

Citation
Godøy, Rolf Inge; Song, Min-Ho; Nymoen, Kristian; Haugen, Mari Romarheim & Jensenius, Alexander Refsum (2016). Exploring Sound-Motion Similarity in Musical Experience. Journal of New Music Research.  ISSN 0929-8215. . doi: http://dx.doi.org/10.1080/09298215.2016.1184689

BibTeX

@article{godoy:2016,
author = {Rolf Inge Godøy and Minho Song and Kristian Nymoen and Mari Romarheim Haugen and Alexander Refsum Jensenius},
title = {Exploring Sound-Motion Similarity in Musical Experience},
journal = {Journal of New Music Research},
volume = {0},
number = {0},
pages = {1-13},
year = {0},
doi = {10.1080/09298215.2016.1184689},
URL = {http://dx.doi.org/10.1080/09298215.2016.1184689},
eprint = {http://dx.doi.org/10.1080/09298215.2016.1184689},
abstract = { People tend to perceive many and also salient similarities between musical sound and body motion in musical experience, as can be seen in countless situations of music performance or listening to music, and as has been documented by a number of studies in the past couple of decades. The so-called motor theory of perception has claimed that these similarity relationships are deeply rooted in human cognitive faculties, and that people perceive and make sense of what they hear by mentally simulating the body motion thought to be involved in the making of sound. In this paper, we survey some basic theories of sound-motion similarity in music, and in particular the motor theory perspective. We also present findings regarding sound-motion similarity in musical performance, in dance, in so-called sound-tracing (the spontaneous body motions people produce in tandem with musical sound), and in sonification, all in view of providing a broad basis for understanding sound-motion similarity in music. }
}