Digital music

systèmes musicaux interactifs, écriture musicale, temps musical, partitions interactives, partitions dynamiques, interfaces pour la manipulation du temps, visualisation et manipulation de structures de données, notation de processus interactifs.

The most prominent problem of designing a computer-assisted composition system lies in the fact that composers do not have a common way of expressing themselves. Hence there is a tension between the composers themselves and the software they use, which usually relies on a specific grammar and may implicitly assume a specific way of composing. Moreover, the many formats for music representation that can be used in a composition environment produce another difficulty for the designer, who must deal with a large number of heterogeneous and unpredictable formats. We believe that computer-assisted composition systems can overcome these difficulties by placing more emphasis on rich representations of electroacoustic music. An object architecture for achieving this is described.

Most of modern identities emerge from mediated interactions in public and virtual spaces. There are no acknowledged authorities to watch over organizational identities and grant them legitimacy. These identities are renegotiated in real and virtual communities, often carry a permanent label 'under construction' and can be violently contested in public space. Garrulous behaviour stimulated by interactive media and by the forthcoming Evernet allows for a gradual build-up of individual and social response to the visual overkill in media-regulated societies. Voicing the images over, we mobilize for action, dismantle institutional structures and generally speaking mix gate-keeping with data-dating, thus contributing to the overall change of world's cultural climate -one of bricks, clicks and flicks. Benetton's Toscani campaign and Napster's ordeal are cases in point.

National Standard 9, "understanding music in relation to history and culture," forms the basis for this article about family traditions found in bluegrass music. With historical information about the roots of bluegrass music in the Old Time tradition, the author provides helpful links and instructional strategies to help general music students identify important components and concepts found in bluegrass music. The Digital Library of Appalachia is introduced to provide sound archives available to all teachers, and a sample lesson plan is included. Also included is a suggested listening repertoire, along with recommendations for use in the general music classroom.

This paper describes an AI system, Autopia, designed to participate in collaborative live coding music performances using the Utopia software tool for SuperCollider. This form of human-AI 1 collaboration allows us to explore the implications of mixed-initiative computational creativity from the perspective of live coding. As well as collaboration with human performers, one of our motivations with Autopia is to explore audience collaboration through a gamified mode of interaction, namely voting through a web-based interface accessed by the audience on their smartphones. The results of this are often emergent, chaotic, and surprising to performers and audience alike.

Ce numéro spécial de la RMO est consacré à « Musique et intermédialité dans le cyberespace ». Il inclut huit contributions organisées thématiquement et constituant chacune une étude de cas autour de la popular music (Isabelle Marc, Sébastien Lebray et Benjamin Lassauzet), du flamenco (Chloé Houillon), des particularités ontologiques des performances à distance (Vincent Granata et Alessandro Arbo) et de l’opéra (Luciana Colombo et Nicolò Palazzetti).

This article examines some of the specific features of remote musical performances, based on a case study: the live roots music sessions broadcast during the 2020 pandemic by American family band “The Petersens”, on their YouTube channel. The advantages and limitations of this kind of production are analyzed, along with its ability to develop interactions with the public and transcend geographical boundaries. Insofar as live streaming confers a mark of authenticity on the performance, it carries an added aesthetic value in the online sphere. Posting to YouTube transforms the performative event into a recorded act that responds to trends typical of cyber culture, such as recurrence and interconnection. The production (and recording) of comments, notes, reactions, emoticons, likes, or blogs, in turn significantly drives up the “documedial” value of this type of content and, ultimately, results in the accumulation of surplus value that primarily benefits the platform.

L’article analyse quelques spécificités des performances musicales à distance à partir d’une étude de cas : les live sessions de roots music diffusées pendant la crise pandémique de 2020 par « The Petersens », un family band américain, sur sa chaîne YouTube. Sont examinés les avantages et les limites de ce genre de production, ainsi que ses capacités à développer des interactions avec le public et à transcender les frontières géographiques. Dans la mesure où le live streaming confère à la performance une marque d’authenticité, il est porteur, dans la sphère du Web, d’une valeur esthétique ajoutée. La publication sur YouTube transforme l’événement performatif en un acte enregistré qui répond à des tendances typiques de la culture cybernétique, comme la récurrence et l’interconnexion. La production (et l’enregistrement) de commentaires, de notes, de réactions, d’émoticônes, de likes ou encore de blogues détermine à son tour une implémentation considérable de la valeur « docu-médiale » de ce type de contenus et l’accumulation d’une plus-value dont profite principalement la plateforme.

No one knows exactly what went through the mind of pre-historic man when he first struck two rough stones together in order to produce sounds and rhythms. To what extent did the resulting reverberations captivate him? To what extent was he already projecting his own ideas in order to transform what he was doing? As the millenniums passed, he continued polishing his stones, producing more and more sophisticated instruments. In the era of digital sound generation, real time interactions and virtually unbounded possibilities, the computer has become our new stone with which we project and transform our ideas into sounds.

The creation of synthetic sounds plays an increasing role in multimedia signal processing. A variety of methods already used in digital musical instruments are now applied for sound rendering of virtual scenes. Most of these methods rely on the description of waveforms in terms of harmonics, attack and decay times, etc. However, these parameters have to be measured in real sounds or they must be derived from suitable models. In practice, their choice is left to the taste of a sound designer and is not based on scientific methods. This paper shows how to apply the theory of multidimensional continuous and discrete systems to derive a parametric description of musical sounds from a physical model of real or virtual musical instruments. Furthermore, it is shown that not only the parameters but also the algorithmic structure of powerful sound synthesis methods can be derived from multidimensional systems theory.

A pitch spelling algorithm predicts the pitch names (e.g., C]4, B[5 etc.) of the notes in a passage of tonal music, when given the onset-time, MIDI note number and possibly the duration and voice of each note. A new algorithm, called ps13, was compared with the algorithms of Longuet-Higgins, Cambouropoulos, Temperley and Chew and Chen by running various versions of these algorithms on a 'clean', score-derived test corpus, C, containing 195972 notes, equally divided between eight classical and baroque composers. The standard deviation of the accuracies achieved by each algorithm over the eight composers was used to measure style dependence (SD). The best versions of the algorithms were tested for robustness to temporal deviations by running them on a 'noisy' version of the test corpus, denoted by C 0 .

Opuscope is an initiative targeted at sharing musical corpora and their analyses between researchers. The Opuscope repository will contain musical corpora of high quality which can be annotated with hand-made or algorithmic musical analyses. So, analytical results obtained by others can be used as a starting point for one's own investigations. Experiments performed on Opuscope corpora can easily be compared to other approaches, since an unequivocal mechanism for describing a certain corpus will be provided.

The goal of this paper is to sketch the value chain and the business models of the online distribution of music. The perspective of the online digital music market is rather deceiving but the opportunities seem to remain high. Considering the rise of the P2P networks of free music digital files, it seems reasonable to assume this new way to distribute music meets consumer needs. Based on a review of the literature and executive interviews, the paper presents the traditional distribution models; then it addresses how P2P piracy deals with the copyright issues, and describes some emergent business models that could be an answer to illegal digital music distribution.

In this study, while the loudness level policies of music streaming services and the regulations they developed in this context were examined through the example of Spotify, comparisons were made by including the physical measurements of popular music songs that entered the top lists in Turkey in 2012, 2016 and 2022. Thus, with the emergence of broadcasting standards and regulation policies, it has been observed what changes have occurred in the loudness levels and dynamic ranges of the songs. On the other hand, recording technology is one of the most important factors determining the background of the performance since the musical performance left its acoustic environment and aura and was included in the reproduction system. In this context, the recording of a song is a form of musical performance that has been transformed into a product, even an industrial unit, throughout the process in the industrial field. Loudness, as a physical phenomenon, is among the main factors that determine the musical timbre and energy that the musical performance will be presented to the listener. From this point of view, the phenomenon of loudness is not only considered as a physical subject, but also as a competitive strategy in popular music, and the development of the process is examined through the historical background of the subject. The measurements showed that the LUFS levels in the songs of 2012 and 2017 differed, and these levels became standardized in the 2022 lists with the implementation of the normalization practices of the services. The values encountered in the measurements of 2017 showed that the broadcasting standards did not affect the records in Turkey. The conclusion reached as a result of the study is that the digital music industry needs to make regulations in the process, both in terms of the musical performance itself and as an element of industrial competition; industrial norms are not yet evident in the loudness levels of the songs that entered the top lists before the regulations; loudness, which includes aesthetic features in terms of music performance, has reached industrial standards in terms of listening tools and production techniques since 2017.

© 2003 by David Spitz, Starling Hunter. All rights reserved. Short sections of text, not to exceed two paragraphs, may be quoted without explicit permission, provided that full credit including © notice is given to the source. ... This paper also can be downloaded without charge ...

Audio music is increasingly becoming available in digital form, and the digital music collections of individuals continue to grow. Addressing the need for effective means of retrieving music from such collections, this paper proposes new techniques for content-based similarity search. Each music object is modeled as a time sequence of high-dimensional feature vectors, and dynamic time warping (DTW) is used as the similarity measure. To accomplish this, the paper extends techniques for time-series-length ...

Digital Musical Instruments (DMIs) have difficulties establishing themselves after their creation. A huge number of DMIs is presented every year and few of them actually remain in use. Several causes could explain this reality, among them the lack of a proper instrumental technique, inadequacy of the traditional musical notation and the non-existence of a repertoire dedicated to the instrument. In this paper we present Entoa, the first written music for Intonaspacio, a DMI we designed in our research project. We propose some strategies for mapping data from sensors to sound processing, in order to accomplish an expressive performance. Entoa is divided in five different sections that corresponds to five movements. For each, a different mapping is designed, introducing subtle alterations that progressively explore the ensemble of features of the instrument. The performer is then required to adapt his repertoire of gestures along the piece. Indications are expressed through a gestural ...

The group activity is focused on the development and design of computer-controlled instruments-digital music instruments [5]. We will describe three digital music instruments, havedeveloped at the Computer Studio. These instruments are mostly unified by the idea of human gesture and human interaction using new technologies to control the interaction processes. At the same time they were built upon the consciousness of musical tradition taking a fresh approach on everyday objects.

TR/EN
-TR:Dijitalleşme sonucunda yaşanan teknolojik dönüşüm ile müzik sektöründe gelirlerin kaynağı dijital müzik platformları haline gelmiştir. Dijital müzik platformlarından elde edilen gelirler, müzik yapımları üzerinde hak sahipleri olan söz yazarı, besteci, icracı sanatçı ve fonogram yapımcısı arasında gelir paylaşımı çekişmesi doğurmuştur. 2001 yılında 4630 sayılı Kanun ile FSEK md.25’te yapılan değişikliğin mahkemelerce hatalı yorumlanması, 2001 öncesi tüm müzik yapımlarının hukuki uyuşmazlık konusu olmasına ve dijital yayınların durmasına sebep olmuştur. Genellikle icracı sanatçılar tarafından fonogram yapımcılarına karşı açılan çok sayıda dava, müzik sektörünü dijital umuma iletim krizine sokmuştur. Kriz kapsamında durdurulan dijital yayınlar neticesinde müzik eseri üzerinde hak sahibi olan tüm paydaşlar, gelirlerden mahrum kalma riskiyle karşılaşmıştır. Yayınların durdurulması, hukuki anlamda ayrıca eser sahibi olan besteci ve söz yazarlarının manevi ve mali haklarını kullanmasının kısıtlanması ve hatta ifade özgürlüğünün ihlali anlamına gelmektedir. Ek olarak müzik meslek birliklerine FSEK, Yönetmelik ve yetki belgeleri ile münhasıran verilen tam ruhsatın geçerliliği tartışılır hale gelmiş ve meslek birliklerinin konumu sarsılmıştır. Çalışmamız kapsamında; bir veya birkaç hak sahibi arasındaki gelir paylaşımı kavgası sebebiyle dijital alanda müzik yayınlarının durdurulmasının hatalı olup olmadığı ele alınmaktadır. Müzik eseri üzerindeki tüm hak sahiplerinin menfaatinin gözetilerek fonogram yapımcıları tarafından yapılan yayınların istisnai durumlar haricinde durdurulmaması yönünde öncelikli bir ilkenin tesis edilmesi önerilmektedir. Dijital alanda yayınlar devam ederken taraflar arasında hakkaniyete aykırı bir ekonomik dengesizlik olması halinde, telif gelirlerinin paylaştırılması amacıyla başkaca hukuki ve ekonomik çözümlerin getirilebileceği belirtilmektedir.

-EN: The technological transformation resulting from digitization has turned digital music platforms into the primary source of revenue in the music industry. The income generated from digital music platforms has led to disputes over revenue sharing among the rights holders of music productions, including lyric writers, composers, performing artists, and phonogram producers. The misinterpretation of the amendment made to Article 25 of the Intellectual and Artistic Works Law in 2001 by the courts has resulted in legal disputes concerning all music productions before 2001 and caused a halt in digital broadcasts. Numerous lawsuits filed mainly by performing artists against phonogram producers have plunged the music industry into a crisis of digital public transmission. As a consequence of the suspension of broadcasts, all stakeholders who hold rights in the musical work have faced the risk of being deprived of their share in the revenues. Moreover, the suspension of broadcasts also implies a limitation on the moral and financial rights of composers and lyricists who are the owners of the work and even amounts to a violation of freedom of expression. Additionally, the validity of the exclusive full license granted to music professional associations through the Intellectual and Artistic Works Law, regulations, and authorization documents has become a subject of debate, shaking the position of these associations. Within the scope of our study, the question of whether the cessation of music broadcasts in the digital domain due to disputes over revenue sharing among one or more rights holders is justified or not is addressed. It is suggested to establish a priority principle that ensures the benefit of all rights holders of the musical work and recommends that broadcasts by phonogram producers not be suspended, except in exceptional cases. Furthermore, it is noted that in cases of economic imbalance contrary to equity among the parties while broadcasts continue in the digital domain, other legal and economic solutions may be introduced for the distribution of royalty income.

Mapping gestures to digital musical instrument parameters is not trivial when the dimensionality of the sensor-captured data is high and the model relating the gesture to sensor data is unknown. In these cases, a front-end processing system for extracting gestural information embedded in the sensor data is essential. In this paper we propose an unsupervised offline method that learns how to reduce and map the gestural data to a generic instrument parameter control space. We make an unconventional use of the Self-Organizing Maps to obtain only a geometrical transformation of the gestural data, while dimensionality reduction is handled separately. We introduce a novel training procedure to overcome two main SelfOrganizing Maps limitations which otherwise corrupt the interface usability. As evaluation, we apply this method to our existing Voice-Controlled Interface for musical instruments, obtaining sensible usability improvements.

Bridges is a software system designed to support composition and performance for networked musical ensembles. Bridges facilitates dynamic connections between a variety of devices, applications, and individual musical objects within multiple applications. The focus is on colocated performers, and on control data and communication structures rather than on audio delivery. It manages addressing and mapping between components making instrument design and networked compositions more object oriented, reconfigurable, and portable. Bridges is designed to support research in to new kinds of musical activity, particularly communication between performing musicians, mappings between interfaces and sound synthesis, and most importantly, dynamic network and control structures.

The Epipe is a novel electronic woodwind controller with continuous tonehole coverage sensing, an initial design for which was introduced at NIME '03. Since then, we have successfully completed two fully operational prototypes. This short paper describes some of the issues encountered during the design and construction of this controller. It also details our own early experiences and impressions of the interface as well as its technical specifications.

Digital Musical Instruments (DMIs) have difficulties establishing themselves after their creation. A huge number of DMIs is presented every year and few of them actually remain in use. Several causes could explain this reality, among them the lack of a proper instrumental technique, inadequacy of the traditional musical notation and the non-existence of a repertoire dedicated to the instrument. In this paper we present Entoa, the first written music for Intonaspacio, a DMI we designed in our research project. We propose some strategies for mapping data from sensors to sound processing, in order to accomplish an expressive performance. Entoa is divided in five different sections that corresponds to five movements. For each, a different mapping is designed, introducing subtle alterations that progressively explore the ensemble of features of the instrument. The performer is then required to adapt his repertoire of gestures along the piece. Indications are expressed through a gestural ...

Recent advances in new technologies offer a large range of innovative instruments for designing and processing sounds. This paper reports on the results of a project that took place during the eNTERFACE06 summer workshop in Dubrovnik, Croatia. During four weeks, researchers from the fields of brain-computer interfaces and sound synthesis worked together to explore multiple ways of mapping analysed physiological signals to sound and image synthesis parameters in order to build biologically-driven musical instruments. A reusable flexible framework for bio-musical applications has been developed and validated using three experimental prototypes, from whence emerged some worthwhile perspectives on future research.

The algorithmic composition models used in the domain of systems generating music compositions are presented in the paper. Moreover, the model based on the transition matrix of music events (music patterns described by notes, measures and durations) and classification of the instrumental parts appearing in the input music work is presented. An exemplary implementation of the model is described using MIDI Toolbox implemented in Matlab. In the summary possible extensions of the presented model are described as well as the place of system functioning results in the form of output music compositions are indicated.

Digital music performance requires a high degree of interaction with input controllers that can provide fast feedback on the user's action. One of the primary considerations of professional artists is a powerful and creative tool that minimizes the number of steps required for the speed-demanding processes. Nowadays, mobile devices have become popular digital instruments for musical performance. Most of the applications designed for mobile devices use touch screen, keypad, or accelerometer as interaction modalities. In this paper, we present a novel interface for musical performance that is based on a magnetic interaction between a user and a device. The proposed method constitutes a touchless interaction modality that is based on the mutual effect between the magnetic field surrounding a device and that of a properly shaped magnet. Extending the interaction space beyond the physical boundary of a device provides the user with higher degree of flexibility for musical performance which, in turn, can open doors to a wide spectrum of new functionalities in digital music performance and production.

Playing musical instruments such as chordophones, percussions and keyboard types accompany with harmonic interaction of player's hand with the instruments. In this work, we present a novel approach that enables the user to imitate the music playing gestures around mobile devices. In our approach, touch-less gestures, which change magnetic field around the device, are employed for interaction. The activity of playing an instrument can be transparently pursued by moving a tiny magnet in hand around new generation of mobile phones equipped with embedded digital compass (magnetic sensor). The phonation intentions of the user can be simulated on the mobile device by capturing the gestural pattern using magnetic sensor. The proposed method allows digital imitation of a broad number of instruments while still being able to sense musical hits and relative plectrum gestures. It provides a framework for extending interaction space with music applications beyond physical boundaries of small mobile devices, and to 3D space around the device. This can allow for a more natural, comfortable and flexible interaction. We present several mobile music applications developed based on the proposed method for Apple iPhone 3GS.

Digital music performance requires a high degree of interaction with input controllers that can provide fast feedback on the user's action. One of the primary considerations of professional artists is a powerful and creative tool that minimizes the number of steps required for the speed-demanding processes. Nowadays, mobile devices have become popular digital instruments for musical performance. Most of the applications designed for mobile devices use touch screen, keypad, or accelerometer as interaction modalities. In this paper, we present a novel interface for musical performance that is based on a magnetic interaction between a user and a device. The proposed method constitutes a touchless interaction modality that is based on the mutual effect between the magnetic field surrounding a device and that of a properly shaped magnet. Extending the interaction space beyond the physical boundary of a device provides the user with higher degree of flexibility for musical performance which, in turn, can open doors to a wide spectrum of new functionalities in digital music performance and production.

As a bridge between our interest in Wearable Computer systems and new performance interfaces for digital music, we have built a highly instrumented pair of sneakers for interactive dance. These shoes each measure 16 different, continuous parameters expressed by each foot and are able to transmit them wirelessly to a base station placed well over 30 meters away, updating all values up to 60 times per second. This paper describes our system, illustrates its performance, and outlines a few musical mappings that we have created for demonstrations in computer-augmented dance. ____________________________________ Electronic sensors have been incorporated into footwear for several different applications over the last several years. Employing force-sensing resistor arrays or pixelated capacitive sensing, insoles with very dense pressure sampling have been developed for research at the laboratories of footwear manufacturers and pediatric treatment facilities (Cavanaugh, et. al., 1992). Although these systems are generally hardwired to a stationary basestation, portable insole systems with lower-density sensor arrays (e.g., www.clevemed.com) are now beginning to appear for rehabilitative treatment or prevention of foot injury when the patient exhibits a potentially injury-prone condition such as neuropathy. As sensors and associated processing systems decrease in cost and bulk, they also begin to adorn athletic footwear. Examples are a pressure-sensing insole for golfers to improve their balance during a swing (www.probalance.com) and inertial sensors (accelerometers and/or gyros) to perform pedometry measurements in jogging shoes (Hutchings, 1998). Although most interfaces for virtual reality applications concentrate on the hands, fingers, and head, some have been extended to the feet. Examples are NCSA's CyberBoots (Choi and Ricci, 1997), which used an array of pressure sensors mounted in an overshoe to drive interaction when walking in CAVE (Cave Automatic Virtual Reality Environment) installations, and the "Fantastic Phantom Slipper" (Shirai, et. al., 1998), where a pair of infrared-emitting shoes are tracked over a limited area and haptic feedback applied by driving vibrators in the sole. For the most part, sensing in dance footwear has been limited to simple pressure measurements. Examples are found in wireless electronic tap shoes (di Perna, 1988) and in the footwear of electronic bodysuits, such as the Yamaha Miburi (Paradiso 1997), which has a piezoelectric pickup mounted in the toe and heel of each shoe. These sensors are not stand-alone, but are generally wired to a central (e.g., beltpack) transmitter via cables running up the dancer's legs. The goal of our system was to make many different kinds of measurements at a dancer's foot (e.g., pressures, positions, angles, inertial quantities), and transmit the data continually to a base station, directly from each shoe. By measuring many different kinds of dynamic parameters, we capture much of the expression that trained dancers can evoke at their feet. By mounting all required sensors, circuitry, batteries, and transmitters directly on the shoe, there are no constricting cables or tethers involved. Our applications thusfar have explored possibilities between interactive music and improvisational dance, where the wealth of sensor data streaming from a dancer's feet is interpreted in a computer and used to launch and modify synthesized notes, timbres, and events.

We have created a new electronic musical instrument, referred to as the Termenova (Russian for "daughter of Theremin") that combines a free-gesture capacitive sensing device with an optical sensing system that detects the reflection of a hand when it intersects a beam of an array of red lasers. The laser beams, which are made visible by a thin layer of theatrical mist, provide visual feedback and guidance to the performer to alleviate the difficulties of using a non-contact interface as well as adding an interesting component for the audience to observe. The system uses capacitive sensing to detect the proximity of the player's hands; this distance is mapped to pitch, volume, or other continuous effect. The laser guide positions are calibrated before play with position controlled servo motors interfaced to a main controller board; the location of each beam corresponds to the position where the performer should move his or her hand to achieve a pre-specified pitch and/o...

As a bridge between our interest in Wearable Computer systems and new performance interfaces for digital music, we have built a highly instrumented pair of sneakers for interactive dance. These shoes each measure 16 different, continuous parameters expressed by each foot and are able to transmit them wirelessly to a base station placed well over 30 meters away, updating all

Software piracy, the unauthorized use or illegal copying of computer software, continues to be a major drain on the global economy. The Business Software Alliance (BSA) and the Software Publishers Association (SPA) estimate that worldwide losses due to software piracy totaled as much as $11.4 billion in 1997, up from $11.2 billion in 1996 (Software Piracy Report 1997). The same report suggests that, worldwide, four out of ten business software applications were pirated in 1997. North America, Asia, and Western Europe account for approximately 84% of the losses due to software piracy. Software piracy is considered as prevalent a problem in companies, academic institutions, and among individuals (Cheng, Sims and Teegen 1997). Gopal and Sanders (1997; 1998) and Givon, Mahajan and Muller (1995) suggest that this problem is by far the worst problem threatening the software industry. Research investigating this serious problem has been rather descriptive in nature and empirical studies are scarce (Gopal and Sanders 1997; Thong and Yap 1998). The existing literature still does not shed enough light on the factors motivating individuals to pirate software. This study has two primary objectives. The first objective is to use current behavioral theories in the elaboration of a model that can identify key factors influencing software piracy. Such a model should also explain the relationship between individuals' intentions to pirate software and the actual behavior of software piracy. The second objective is to conduct a longitudinal study to empirically test the validity of the proposed model. This study, therefore, enhances our understanding of the software piracy problem and leads to valuable implications for software vendors, managers, the academic community, and governmental agencies on how to develop effective measures to deal with software piracy. 2. RESEARCH MODEL AND HYPOTHESES Software piracy can be conceptualized as a behavior. The Theory of Reasoned Action (TRA), as suggested by Azjen and Fishbein (1975), has been among the most popular of all behavioral models. This model was later refined by Ajzen (1991) and named the Theory of Planned Behavior (TPB). Another model that is relatively overlooked, but arguably more comprehensive in the sense

The purpose of this study is to investigate the digitization impacts and challenges on the music publishing practices of the Malaysian music industry. This research analyzes how music publishers adapt to the changes in music publishing practices due to digitization. It focuses on the factors that changed the roles of music publishers in the digital era, the impacts and challenges brought by the technological innovation in the Malaysian music industry, and the consequences of the effects and challenges.

Hundreds of millions of people globally engage with musical products distributed through services that have engendered a contentious and inadequately understood system of production, distribution, and consumption. According to some, these new communication environments enhance cultural openness and diversity, facilitating a horizon for the free exercise of collective intelligence in the spirit of participatory culture. Conversely, others contend that these developments signal a regressive drift, increasingly dominated by the conformities of commercial culture. This book undertakes a critical examination of the symbolic, political, economic, spatial, interactional, and ideological dimensions of the current media ecosystem. It includes the presentation of a number of empirical studies designed to explore the perceptions of record executives, music managers, marketing professionals, songwriters, producers, and listeners. The book aims to provide scientifically grounded responses to a question that has predominantly been confined to common discourse: is digital capitalism genuinely an ally of culture?

The History of BBS Culture in Finland (1982-2000): Memories and Experiences.History of Finnish BBS falls under the radar of modern network culture: its status and significance as a “pre-Internet” must neither be overemphasized nor underemphasized. The purpose of this article is to provide a general picture on the significance of the BBS culture from a computer hobbyist perspective. So far, the history of the BBS culture has not been extensively researched, especially in Finland. The study will proceed in chronological order from the early stages in the 1980s to the events in the 1990s and early 2000s. The available data on experiences and memories related to BBSes is survey based.The data from the BBS lists and the survey support the earlier observations regarding the diversity of BBS culture. The BBS hobby had its own rules, norms and courses of action, and this could also be seen in the playful, constantly changing use of language in the message areas. The study suggests that comm...

Software piracy, the unauthorized use or illegal copying of computer software, continues to be a major drain on the global economy. The Business Software Alliance (BSA) and the Software Publishers Association (SPA) estimate that worldwide losses due to software piracy totaled as much as $11.4 billion in 1997, up from $11.2 billion in 1996 (Software Piracy Report 1997). The same report suggests that, worldwide, four out of ten business software applications were pirated in 1997. North America, Asia, and Western Europe account for approximately 84% of the losses due to software piracy. Software piracy is considered as prevalent a problem in companies, academic institutions, and among individuals (Cheng, Sims and Teegen 1997). Gopal and Sanders (1997; 1998) and Givon, Mahajan and Muller (1995) suggest that this problem is by far the worst problem threatening the software industry. Research investigating this serious problem has been rather descriptive in nature and empirical studies are scarce (Gopal and Sanders 1997; Thong and Yap 1998). The existing literature still does not shed enough light on the factors motivating individuals to pirate software. This study has two primary objectives. The first objective is to use current behavioral theories in the elaboration of a model that can identify key factors influencing software piracy. Such a model should also explain the relationship between individuals' intentions to pirate software and the actual behavior of software piracy. The second objective is to conduct a longitudinal study to empirically test the validity of the proposed model. This study, therefore, enhances our understanding of the software piracy problem and leads to valuable implications for software vendors, managers, the academic community, and governmental agencies on how to develop effective measures to deal with software piracy. 2. RESEARCH MODEL AND HYPOTHESES Software piracy can be conceptualized as a behavior. The Theory of Reasoned Action (TRA), as suggested by Azjen and Fishbein (1975), has been among the most popular of all behavioral models. This model was later refined by Ajzen (1991) and named the Theory of Planned Behavior (TPB). Another model that is relatively overlooked, but arguably more comprehensive in the sense

This article explores the role visual browsing can play within a digital music library. The context to the work is provided through a review of related techniques drawn from the fields of digital libraries and human computer interaction. Implemented within the open source digital library toolkit Greenstone, a prototype system is described that combines images located through textual metadata with a visualisation technique known as collaging to provide a leisurely, undirected interaction with a music collection. Emphasis in the article is given to the augmentations of the basic technique to work in the musical domain.

Driven by the recent advances in digital entertainment technologies, digital multimedia content (such as music and movies) is becoming a major part of the average computer user experience. Through daily interaction with digital multimedia content, large digital collections of music, audio and sound effects have emerged. Furthermore, these collections are produced/consumed by different groups of users such as the entertainment, music, movie and animation industries. Therefore, the need for identification and management of such content grows proportionally to the increasing widespread availability of such media virtually "any time and any where" over the Internet. In this paper, we propose a novel algorithm for robust perceptual hashing of musical content using balanced multiwavelets (BMW). The procedure for generating robust perceptual hash values (or fingerprints) is described in details. The generated hash values are used for identifying, searching, and retrieving musical content from large musical databases. Furthermore, we illustrate, through extensive computer simulation, the robustness of the proposed framework to efficiently represent audio content and withstand several signal processing attacks and manipulations.

This chapter explores claims that the live music industry generates more revenue than the recorded music industry in the UK. To do so, it takes a close look at statistics compiled by PRS for Music and UK Music, addressing four questions: (1) What is the purpose of their statistics reports? (2) What do they include in their totals for ‘recording’ and ‘live’? (3) How is the statistical information categorized? (4) Are performers able to assess their share of the money?

Technology can be successfully utilised in a music classroom to enhance the music teaching experience and to allow pupils to explore different aspects of their creativity. In this article, I explored different platforms and technologies I used, at a time in our history when we were limited to the way in which we could interact with our students (COVID-19), in the hopes that this will help others on their own journeys in teaching.

The use of computers as Digital Musical Instruments (DMI) rises many problems due to the separation between gesture and sound production. However, computational power allows now for complex real-time analysis and ges- ture anticipation and recognition. We present here an in- teractive performance system for a percussionist playing in the air, with no physical percussion. Since the gesture sensors are

Audio editing software allows multi-track recordings to be manipulated by moving notes, correcting pitch, and making other fine adjustments, but this is a tedious process. An "intelligent audio editor" uses a machine-readable score as a specification for the desired performance and automatically makes adjustments to note pitch, timing, and dynamic level.

What, if any, similarities and differences between music and speech are consistent across cultures? Both music and language are found in all known human societies and are argued to share evolutionary roots and cognitive resources, yet no studies have compared similarities and differences between song, speech, and instrumental music across languages on a global scale. In this Registered Report, we analyze a novel dataset of 300 high-quality annotated audio recordings representing matched sets of singing, recitation, conversational speech, and instrumental music from our 75 coauthors whose 55 1st/heritage languages span 21 language families to find strong evidence for cross-culturally consistent differences and similarities between music and language. Of our six pre-registered predictions, five were strongly supported: relative to speech, songs use 1) higher pitch, 2) slower temporal rate, and 3) more stable pitches, while both songs and speech used similar 4) pitch interval size, and...

A data set of interbeat interval times is read into a music software synthesis program to become the basis of a "soundtrack" or auditory display. Here we present examples of the sonijkations, and discuss potential advantages in listening to, as opposed to viewing, heart rate variability data. This method treats the diagnosis of obstructive sleep apnea as a problem of orchestration and melody.