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CfP: Multimedia Technologies for Enriched Music Performance, Production, and Consumption

Publication: Jan. Mar. 2017
Submission deadline: Feb. 1st 2016

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I am co-editing, together with my colleagues Cynthia Liem and George Tzanetakis,  a special issue on IEEE Multimedia related to music.

Internet access, mobile devices, social networks, and automated multimedia technologies enabling sophisticated information analysis and access have radically changed the ways in which people find entertainment, discover new interests, and generally express themselves online — seemingly without any physical or social barriers. Thanks to the increasing affordability of sensing, storage, and sharing, we note that information takes increasingly rich and hybrid multimedia forms, in which multimodal information streams co-occur in various social consumption settings.

This phenomenon also has enabled opportunities in the music domain. In music performance, novel opportunities for expression are found, exploiting (live) analysis and novel interaction mechanisms with musical data in multiple modalities. In music production, sophisticated multimedia data analysis techniques can both lead to more efficient and scalable workflows, as well as richer and better interfaces. In music consumption, the music data richness and its contextual and social embedding lead to novel consumer experiences stimulating music appreciation. Concerts turn into multimodal, multiperspective, and multilayer digital artifacts that can be easily explored, customized, personalized, (re)enjoyed and shared among various types of users; similar notions and opportunities hold for the consumption of general music recordings.

The goal of this special Issue is to gather state-of-the-art research on multimedia methods and technologies aimed at enriching music performance, production and consumption. We solicit novel, original work that is not published or under review elsewhere.

Topics of interest include, but are not limited to:

  • Processing of multimodal music data streams (e.g. audio, video, images, score, text, gesture…) for music performance, production and/or consumption
  • Multimedia content description and indexing for music performance, production and/or consumption
  • Multimedia information retrieval methods for music performance, production and/or consumption
  • Novel interaction mechanisms for music performance, production and/or consumption
  • Novel user interfaces for music performance, production and/or consumption
  • Novel user experience paradigms for music performance, production and/or consumption
  • Social networking and sharing for music performance, production and/or consumption
  • Digital mechanisms for remote music performers and audiences
  • Active listening, audience immersion, and inclusion of new music audiences
  • User-awareness, personalization and intent in music performance, production and/or consumption
  • Context-awareness and automatic context adaptation in music performance, production and/or consumption

Submission Guidelines

See www.computer.org/web/peer-review/magazines. Submissions should not exceed 6,500 words, with each table and figure counting for 200 words. Manuscripts should be submitted electronically (https://mc.manuscriptcentral.com/mm-cs), selecting this special issue option.

Guest Editors

Detailed call for papers

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PHENICX prototype ready to use!

In the EU-funded research project PHENICX, we have developed a prototype with which you can learn more about and enjoy classical music. It contains innovative features to visualize and explore pieces of classical music. The objective of PHENICX is to make classical music more attractive to a larger audience by means of technology. The prototype is the result of a collaboration between an orchestra, research institutes, universities, and online video application developers. I would like to invite you to try it out!

Go to http://www.surveygizmo.com/s3/2383491/phenicx-web  and follow the instructions to start participating!

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Are you curious? I would much appreciate your input. Trying out the prototype and filling in a questionnaire will take you more or less half an hour. If you do, you have the chance to win a €50 (1x), €25 (2x), or €10 (5x) gift certificate. So please try out the prototype and support our research by answering a number of questions!

 

 

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Computational models of symphonic music: challenges and opportunities

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This is the title of my keynote speech yesterday at the Mathematics and Computation in Music Conference that is taking place in London this week. I presented our work in the PHENICX project I am coordinating to apply MIR technologies to symphonic repertoire. This is the abstract:

An orchestral classical concert embraces a wealth of musical information, which may not be easily perceived or understood for general audiences. Current machine listening and visualization technologies can facilitate the appreciation of distinct musical facets, contributing to innovative and more enjoyable concert experiences. This presentation provides an overview of the challenges and opportunities that symphonic music poses for these technologies. We will summarize our current efforts in the improving of state-of-the-art methods for melody extraction, structural analysis, source separation when applied to this particular repertoire. Special emphasis will be given to the combination of symbolic, audio and gestural music descriptors, and to the development of meaningful visualizations designed to be exploited in off-line and live concert situations.

Among other things, I presented the work we carried out in Seville for the Exponential Prometheus opening concert of the Singularity Summit Spain, Seville, March 12th 2015.

This is a video of the event which illustrates our work in the phenicx project.

It was featured in the DIGITAL AGENDA FOR EUROPE.

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Keynote speech at the 3rd International Workshop on Folk Music Analysis

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Tomorrow June 6 at 15:00 I will be giving my first keynote speech at the 3rd FMA workshop in Amsterdam. I am honored for that!

I will talk about the state of the state of the art and challenges of automatic music transcription and description technologies and I will illustrate it with some examples of the projects I have been involved in and research from other institutions. I hope the audience will enjoy it!

Keynote talk: Towards Computer-Assisted Transcription and Description of Music Recordings
By Dr. Emilia Gómez (Universitat Pompeu Fabra)

Abstract
Automatic transcription, i.e. computing a symbolic musical representation from a music recording, is one of the main research challenges in the field of sound and music computing. For monophonic music material the obtained transcription is a single musical line, usually a melody, and in polyphonic music there is an interest in transcribing the predominant melodic line. In addition to transcribing, current technologies are able to extract other musical descriptions related to tonality, rhythm or instrumentation from music recordings. Automatic description could potentially complement traditional methodologies for music analysis.
In this talk I will first present the state-of-the art on automatic transcription and description of music audio signals. I will illustrate it with our own research on tonality estimation, melodic transcription and rhythmic characterization. I will show that, although current research is promising, current algorithms are still limited in accuracy and there is a semantic gap between automatic feature extractors and expert analyses.
Finally, I will present some strategies to address these challenges by developing methods adapted to different repertoire and defining strategies to integrate expert knowledge into computational models, as a way to build systems following a “computer-assisted” paradigm.

 

 

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TONAS: a new dataset of flamenco a cappella sung melodies with corresponding manual transcriptions

 

Some weeks ago we announced the release of a new dataset of flamenco singing: TONAS

The dataset includes 72 sung excerpts representative of three a cappella flamenco singing styles, i.e. Tonás (Debla and two variants of Martinete), together with manually corrected fundamental frequency and note transcriptions.

This collection was built by the COFLA team in the context of our research project for melodic transcription, similarity and style classification in flamenco music.

Further information about the music collection, how the samples were transcribed and by who, is available on the dataset website, where you can of course download the audio, metadata and transcription files.

We hope that this collection will be useful, whether for automatic transcription of the singing voice or any other research topic (e.g. pitch estimation, onset detection, melodic similarity, singer identification, style classification), and we hope this dataset will increase the interest of our scientific community on the particular challenges of flamenco singing.

For the moment we got quite a number of downloads for different purposes: research on music transcription, onset detection, folk music, personal study of singing techniques, and even for curiosity! 🙂

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Master theses in Computational Musicology co-supervised by me

Hi,

Please check these two excellent works from two SMC students at the MTG. Congratulations to Bruno and Maria for their work.

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