The ubiquitous nature of communication in computer networks, firmly manifested in the Internet era, provided a context for the introduction of different collaborative tools widely accepted by the on-line community, such as textual chats, white boards, shared editors, video conference systems, shared spaces for the exchange of multimedia documents or even simple e-mail based collaborative systems.

We introduce MySong, a system that automatically chooses chords to accompany a vocal melody. A user with no musical experience can create a song with instrumental accompaniment just by singing into a microphone, and can experiment with different styles and chord patterns using interactions designed to be intuitive to non-musicians. We describe the implementation of MySong, which trains a Hidden Markov Model using a music database and uses that model to select chords for new melodies. Model parameters are intuitively exposed to the user. We present results from a study demonstrating that chords assigned to melodies using MySong and chords assigned manually by musicians receive similar subjective ratings. We then present results from a second study showing that thirteen users with no background in music theory are able to rapidly create musical accompaniments using MySong, and that these accompaniments are rated positively by evaluators.

The Beatbugs are hand-held percussive instruments that allow the creation, manipulation, and sharing of rhythmic motifs through a simple interface. When multiple Beatbugs are connected in a network, players can form large-scale collaborative compositions by interdependently sharing and developing each other’s motifs. Each Beatbug player can enter a motif that is then sent through a stochastic computerized "Nerve Center ” to other players in the network. Receiving players can decide whether to develop the motif further (by continuously manipulating pitch, timbre, and rhythmic elements using two bend sensor antennae) or to keep it in their personal instrument (by entering and sending their own new motifs to the group.) The tension between the system’s stochastic routing scheme and the players ’ improvised real-time decisions leads to an interdependent, dynamic, and constantly evolving musical experience. A musical composition entitled “Nerve ” was written for the system by author Gil Weinberg. It was premiered on February 2002 as part of Tod Machover’s Toy Symphony [1] in a concert with the Deutsches Symphonie Orchester Berlin, conducted by Kent Nagano. The paper concludes with a short evaluative discussion of the concert and the weeklong workshops that led to it.

In this paper we study the potential and the challenges posed by multi-user instruments, as tools that can facilitate interaction and responsiveness not only between performers and their instrument but also between performers as well. Several previous studies and taxonomies are mentioned, after what different paradigms exposed with examples based on traditional mechanical acoustic instruments. In the final part, several existing systems and implementations, now in the digital domain, are described and identified according to the models and paradigms previously introduced.

Abstract not found

This paper questions and examines the validity and future of interactive network performance. The history of research in the area is described as well as experiments with our own system. Our custom-built networked framework, known as GIGAPOPR, transfers high-quality audio, video and MIDI data over a network connection to enable live musical performances to occur in two or more distinct locations. One of our first sensor-augmented Indian instruments, The Electronic Dholak (EDholak) is a multi-player networked percussion controller that is modelled after the traditional Indian Dholak. The EDholaks trigger sound, including samples and physical models, and visualisation, using our custom-built networked visualisation software, known as veldt. 1.

The Beatbugs are hand-held percussive instruments that allow the creation, manipulation, and sharing of rhythmic motifs through a simple interface. When multiple Beatbugs are connected in a network, players can form large-scale collaborative compositions by interdependently sharing and developing each other's motifs. Each Beatbug player can enter a motif that is then sent through a stochastic computerized "Nerve Center" to other players in the network. Receiving players can decide whether to develop the motif further (by continuously manipulating pitch, timbre, and rhythmic elements using two bend sensor antennae) or to keep it in their personal instrument (by entering and sending their own new motifs to the group.) The tension between the system's stochastic routing scheme and the players' improvised real-time decisions leads to an interdependent, dynamic, and constantly evolving musical experience. A musical composition entitled "Nerve" was written for the system by author Gil Weinberg. It was premiered on February 2002 as part of Tod Machover's Toy Symphony [1] in a concert with the Deutsches Symphonie Orchester Berlin, conducted by Kent Nagano. The paper concludes with a short evaluative discussion of the concert and the weeklong workshops that led to it.

Many forms of technology have been oriented at connecting people together. We were interested in how cheap, handheld, electronic devices might be used to promote social interactions, thereby creating “social controllers. ” Many technological, artistic, and interface challenges are presented by this goal, though other projects point out some of the solutions. Through brainstorming, we decided to use electronic music and sound creation as the medium for creating interaction. We also decided on a fixed set of sensors (2 buttons, one slider, and a light detector) to control the sound synthesizing algorithms. We used Max/MSP, Processing with Minim, the Mini-Simius Card, and analog circuitry to create prototypes. A group of testers evaluated the prototypes for interest and enjoyment. After deciding to use a dsPIC microcontroller, we also decided that the devices would contain five highest-rated prototypes, since the nature of the device could be changed by simply changing the sound module. At all points, enjoyment was the main goal, and other considerations were secondary. We fabricated six social controllers, using a computer mouse as the form factor, and replacing the internal components with our own PCB and components. The final social controller, called the Lara, is a responsive, enjoyable, multimodal sound device which promotes social interaction through LEDs and light sensors with surprising and entertaining results.