Digital music

This chapter, for the forthcoming edited collection, _In the Shadow of the Phonograph_, explores some of the ways in which musical cultures of mourning respond to what Steven Shaviro (2010) has termed new ‘media regimes’ that emerged after the Holocaust.  By ‘media regimes’, Shaviro is referring to the ways in which media are periodically re-ordered, re-hierarchized, and incorporate new media, transforming some of the ways in which we conceive of communication and the production of meaning.  Although Shaviro does not refer to the Holocaust in his theory of the media regime (indeed he is keen to avoid ‘periodisations’ of any kind), this chapter proposes the notion that the Holocaust, as a complex and slow-to-emerge challenge to conventional historiographies of mourning, arrives to us always already mediated, always already marked by the journey from the field of atrocities to the sites of mourning, judicial action, or comprehension. It is thus always already marked by the media regime in which it “arrives”. This ‘journey’ (usefully captured in Friedrich Kittler’s notion of material ‘transposition’ [1990]), has been mapped relatively comprehensively in studies of literature, testimony, and other textually-mediated forms but relatively little exists in the literature on phonographies of the Holocaust.

A prevailing standard in the global music industry posits that every musician necessitates a manager to oversee strategic planning, negotiations, and commercial intricacies. This paper contests the prevailing norm by advocating for a manager-as-employee paradigm, based on the principal-agent theory and entrepreneurship studies, in which the artist is redefined as the business principal who engages a manager for specialised functions. Utilising historical trends and the contemporary digital landscape, this article illustrates that musicians actively participate in many entrepreneurial endeavours-such as budgeting, branding and distribution-and thus need not relinquish overall authority to a manager. The article contends that, notwithstanding the valuable connections and experience offered by reputable managers, contractual agreements should prioritise the artist's creative vision and financial independence. It delineates how artists might work, examining practical frameworks such as project-based management agreements, and promoting wider acknowledgement of music as a viable vocation. The conclusion urges industry stakeholders-labels, promoters, media and educational institutions-to endorse a paradigm where artist liberty is the norm rather than the anomaly.

défendant une oeuvre (film, musique, …) contre la redistribution illégale. Elles sont plus connues sous le terme anglais DRM, Digital Right Management system. Les MTP sont au coeur d'un décor socio-économique et juridique assez dense. Beaucoup d'acteurs sont présents : fournisseurs de contenu, distributeurs, fournisseur de technologie et consommateurs. Les modes d'expression sont normatifs (normes de fait ou standards internationaux). Les scénarios types envisagés sont le stockage, la consommation, la transmission ou la production des oeuvres. Commençons par un avertissement : je ne suis pas juriste, ce qui suit est l'interprétation par un technicien du cadre juridique autour des MTP. Les oeuvres sont protégées par les lois sur la propriété littéraire et artistique incluse dans le Code de la Propriété Intellectuelle, CPI. Très schématiquement, deux concepts fondamentaux y sont décrits : le droit d'auteur et les droits voisins. Le droit d'auteur est un droit moral, c'est-à-dire un droit de l'homme, qui est ici l'auteur. Ce droit défend la paternité de l'oeuvre et son contrôle par l'auteur. Ce droit est incessible et imprescriptible (i.e. sans fin). Les droits voisins sont des droits patrimoniaux, c'est-à-dire des droits des biens défendant les intérêts financiers de l'auteur mais aussi des producteurs, promoteurs, éditeurs (i.e. les voisins) de l'oeuvre. Les MTP visent surtout à restreindre la distribution illégale, ils sont donc relatifs aux droits voisins.

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

Notre travail porte sur l'utilisation de l'interaction 3D immersive pour la performance musicale. De nombreuses recherches ont été menées sur l'utilisation d'interfaces graphiques pour le contrôle musical. Elles ont notamment décrit l'intérêt que présentent les widgets réactifs, éléments graphiques qui permettent à la fois le contrôle de processus sonores et la visualisation d'informations sur ces processus. D'autres recherches ont montré les possibilités apportées par la réalité virtuelle en matière d'immersion et d'interaction. Néanmoins, aucune des applications 3D musicales développées jusqu'à maintenant n'exploite les avantages des widgets réactifs. Nous cherchons donc à explorer cette voie. Pour cela, nous avons développé un outil de création d'interfaces 3D, Poulpe3D. Il nous semble primordial de chercher la meilleure fac ¸on d'associer les paramètres visuels des widgets et les paramètres perceptifs sonores afin de permettre un contrôle efficace et un retour d'informations pertinent. Pour cela, nous nous appuyons sur plusieurs pistes de recherche, qui nous conduisent à penser qu'il est impossible de fixer ces associations de manière objective et à envisager une série de tests en utilisant un outil 3D de mapping intégré à Poulpe3D. Cet outil donne la possibilité à chaque utilisateur de configurer les liens selon ses préférences.

This study analyzes the structural transformations brought by digital twin technology in the K-pop industry, spanning creation, distribution, performance, and fan experience. Originally developed as an engineering tool for real-time simulation of physical systems, the digital twin has recently expanded in K-pop to encompass virtual avatars, immersive concerts, and algorithmic interfaces based on fan behavior data. These applications reconfigure core operating principles of the K-pop ecosystem, extending beyond representation to reshape artist identity, fan engagement, and concert design and circulation. Drawing on qualitative case studies of Aespa, MAVE:, and AmazeVR, the paper applies an integrated framework of techno-cultural co-evolution, platform capitalism, and the field theory of cultural production. The analysis identifies three key shifts: the reconfiguration of creative agency, the monetization of affective data, and the platformization of concert venues. Together, these shifts redefine K-pop as a hybrid ecosystem where art, technology, and industry are tightly interwoven. The findings highlight the need for multi-layered policy responses, including the protection of creators' rights, ethical standards for fan data usage, and support for small-scale creative ecosystems. Future research should expand toward the intersections of digital twin and generative AI, fan interface design, and cross-cultural comparisons. Ultimately, this study offers a critical foundation for understanding how K-pop's sensory, structural, and identity dimensions are being reconstituted in the era of techno-cultural convergence.

디지털 트윈, K-pop, 버추얼 아티스트, 팬덤 경험, 공연생태계
digital twin, K-pop, virtual artists, fan experience, performance ecosystem

Aim: The study examined the effect of time on amount of voltage generated in a foot beat electricity generating system stored in a battery. Study Design: A system made of piezoelectric materials was designed such that the foot beats of dancers on a platform would cause a mechanical deformation that would lead to conversion of mechanical energy due to pressure from the foot beats to electrical energy; and can be stored in a rechargeable lead acid battery for future use. Place and Duration of Study: Awka Anambra State, Nigeria, between November 2018 and April 2020. Methodology: A sheet of plywood measuring 300 mm x 300 mm x 3 mm thick was placed on a hard wooden board of 300 mm x 300 mm x 25 mm thick where twelve piezoelectric sensors were connected in series with foam spring inserted as separators and to aid in returning after deformation. As the dancers step on the platform, multimeter was used to take the voltage and current readings, while Lead acid rechargeable battery could be c...

The perceptual attributes of timbre have inspired a considerable amount of multidisciplinary research, but because of the complexity of the phenomena, the approach has traditionally been confined to laboratory conditions, much to the detriment of its ecological validity. In this study, we present a purely bottom-up approach for mapping the concepts that emerge from sound qualities. A social media () is used to obtain a wide sample of verbal descriptions of music (in the form of tags) that go beyond the commonly studied concept of genre, and from this the underlying semantic structure of this sample is extracted. The structure that is thereby obtained is then evaluated through a careful investigation of the acoustic features that characterize it. The results outline the degree to which such structures in music (connected to affects, instrumentation and performance characteristics) have particular timbral characteristics. Samples representing these semantic structures were then submitted to a similarity rating experiment to validate the findings. The outcome of this experiment strengthened the discovered links between the semantic structures and their perceived timbral qualities. The findings of both the computational and behavioural parts of the experiment imply that it is therefore possible to derive useful and meaningful structures from free verbal descriptions of music, that transcend musical genres, and that such descriptions can be linked to a set of acoustic features. This approach not only provides insights into the definition of timbre from an ecological perspective, but could also be implemented to develop applications in music information research that organize music collections according to both semantic and sound qualities.

BACKGROUND The automatic prediction of emotional content in music is nowadays a growing area of interest. Several algorithms have been developed to retrieve music features and computational models using these features are continuously being created in order to predict music emotional content.

This study examines the global expansion strategies of South Korean AI music companies and their integration into the K-pop industry through a case-based analysis. Technologies such as AI composition, voice synthesis, and vocal restoration offer innovative alternatives to traditional music production methods, and Korean AI-based music companies are effectively applying these technologies within the Hallyu content industry. Key players-including Pozalabs, Neutune, and Supertone-are realizing the automation of music production through B2B content creation, multilingual platform launches, and collaborations with entertainment companies. This paper analyzes how these AI technologies are embedded across the production, distribution, and consumption structure of the K-pop industry and proposes the concept of a K-AI Music industry as a new cultural form. Furthermore, it presents an integrative analytical framework for understanding structural transformations in the digital-era music industry, while addressing the potential of AI music to function as an expanded form of Culture Technology. The study also discusses the ethical and institutional implications of AI-driven content creation and its potential use in cultural diplomacy.

문화산업연구 제25권 제2호(2025년 6월), ISSN 1598-0936 Journal of Culture Industry, Vol.25, No.2(June 2025), 271~280

AI 음악, K-pop, 한류전략, 포자랩스, 뉴튠, 수퍼톤, 문화기술, 글로벌 콘텐츠 산업
AI music, K-pop, Hallyu strategy, Pozalabs, Newtune, Supertone, Cultural Technology, Global Content Industry

"Sound Design and Artificial
Intelligence: A Practical Guide" takes a deep,
hands-on look at how AI is transforming the world
of audio production. It’s not just about tools and
techniques though it offers plenty of those but also
about asking bigger questions: What does it mean
when machines start making music? How do we
stay creative and human in an increasingly
automated industry? By breaking down real-world
workflows using tools like iZotope RX and AIVA,
the book gives sound designers practical strategies
they can use right away. At the same time, it brings
in voices from places like Skywalker Sound and
blends them with research on AI and creativity,
building a thoughtful framework for using these
technologies responsibly. From cleaning up noisy
recordings to generating adaptive scores, the case
studies show where AI shines and where it can’t
replace the subtlety of human listening. In the end,
this isn’t just a guidebook; it’s a call to think
critically about the future of sound and the role we
want to play in shaping it

"Sound Design and Artificial
Intelligence: A Practical Guide" takes a deep,
hands-on look at how AI is transforming the world
of audio production. It’s not just about tools and
techniques though it offers plenty of those but also
about asking bigger questions: What does it mean
when machines start making music? How do we
stay creative and human in an increasingly
automated industry? By breaking down real-world
workflows using tools like iZotope RX and AIVA,
the book gives sound designers practical strategies
they can use right away. At the same time, it brings
in voices from places like Skywalker Sound and
blends them with research on AI and creativity,
building a thoughtful framework for using these
technologies responsibly. From cleaning up noisy
recordings to generating adaptive scores, the case
studies show where AI shines and where it can’t
replace the subtlety of human listening. In the end,
this isn’t just a guidebook; it’s a call to think
critically about the future of sound and the role we
want to play in shaping it

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...

With the introduction of digital technologies and the internet, the music industry has become increasingly dependent on copyright law to extract profit from music. At the same time, the last few years have seen growing interests from the industry to harmonize copyright regulations across countries via international treaties and institutions such as the World Intellectual Property Organization. This article explores how these changes have affected the music economy in Equatorial Guinea, a Central African micro-state. While recent research points to the transformation of African music economies through the interaction of digital technologies and transnational copyright law, the Equatoguinean case offers a contrasting case. It suggests that copyright is not just contingent, but an impossibility in contemporary Equatorial Guinea. The music economy in the country is not governed by a capitalist mode of exchange but by well-rooted patronage relations that impede the development of copyright. In this context, unlicensed praise songs are a medium through which, on the one hand, the elite accumulates prestige and, on the other, musicians try to encourage the redistribution of oil riches. The article contends that musical patronage in Equatorial Guinea is antithetical to some of the basic principles of copyright law, including liberal understandings of musical ownership and music’s commodity-form. It explores how the confluence of an oil boom and the digitalization of music have contributed to a situation in which musicians generally remain uninterested in, or are incapable of finding the means to enter, the realm of musical capitalism and the global music industry.

this paper we use the actors' term 'internet giant', though Western usage might characterise these as social media platforms -such as Facebook Amazon Netflix Google(with the inelegant acronym FANG). 2 The definition of platform varies between analytic traditions. This paper follows the usage of who also highlight the emergence of infrastructurised platforms.

Dijitalleşme süreci, müziğin üretim, tüketim ve dağıtım süreçlerini dönüştürerek yeni bir kültür yaratmıştır. Bu süreçte, Walkman’den MP3 teknolojisine, Napster gibi paylaşım platformlarından Apple’ın iTunes hizmetine kadar birçok dönüm noktası, müziğin taşınabilir ve erişilebilir hale gelmesini sağlamıştır. Dijital platformlar, müziği fiziksel kopyalardan dijital dosyalara taşıyarak yeni tüketim alışkanlıkları oluşturmuştur. Dijitalleşmenin müzik endüstrisine getirdiği yenilikler arasında akış hizmetleri öne çıkmaktadır. Spotify gibi platformlar, kullanıcılara geniş bir arşive erişim sunarak müzik tüketimini değiştirirken, sanatçılar için yeni gelir modelleri geliştirmiştir. Bu değişim, müzik endüstrisinde telif hakları, sanatçıların gelirleri ve yaratıcı süreçler açısından bazı sorunlara yol açmaktadır. Yapay zeka müzik besteleme, düzenleme ve öneri sistemlerinde devrim yaratmakta, bununla birlikte bu teknolojinin kullanımı, telif hakkı ve sanatsal özgünlük bağlamında etik tartışmalara neden olmaktadır. Bu bağlamda, bu çalışma, dijital çağın müzik endüstrisine etkilerini çeşitli açılardan incelemeyi hedefleyen betimsel bir çalışmadır.

A crucial set of decisions in digital musical instrument design deals with choosing mappings between parameters controlled by the performer and the synthesis algorithms that actually generate sound. Feature-based synthesis offers a way to parameterize audio synthesis in terms of the quantifiable perceptual characteristics, or features, the performer wishes the sound to take on. Techniques for accomplishing such mappings and enabling feature-based synthesis to be performed in real time are discussed. An example is given of how a real-time performance system might be designed to take advantage of feature-based synthesis's ability to provide perceptually meaningful control over a large number of synthesis parameters.

HAL is a multi-disciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers. L'archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d'enseignement et de recherche français ou étrangers, des laboratoires publics ou privés.

A l'heure ou la musique en ligne seduit les auditeurs et tend a detroner le disque compact, l'industrie de la musique enregistree se trouve a la fois sommee d'imaginer des services en ligne adaptes a la nouvelle demande, et detournee d'un objet autour duquel elle capitalisait traditionnellement le savoir-faire de ses metiers. Il devient donc urgent de comprendre les fonctionnements du disque comme objet semiotique, en tant qu'il n'est pas reductible a un simple support de contenus. La demarche, comprise comme une retroconception a partir de l'analyse de pratiques encore effectives, soutiendra un travail d'ingenierie des besoins des demandeurs de musique distribuee en ligne. Le but est de modeliser un systeme informatise d'ecoute musicale cooperative, capable d'assister les utilisateurs dans leur choix de musique enregistree et dans l'elaboration de leurs propres modalites de description des titres. Le programme de recherche est conduit ave...

Most new digital musical interfaces have evolved upon the intuitive idea that there is a causality between sonic output and physical actions. Nevertheless, the advent of braincomputer interfaces (BCI) now allows us to directly access subjective mental states and express these in the physical world without bodily actions. In the context of an interactive and collaborative live performance, we propose to exploit novel brain-computer technologies to achieve unmediated brain control over music generation and expression. We introduce a general framework for the generation, synchronization and modulation of musical material from brain signal and describe its use in the realization of Xmotion, a multimodal performance for a “brain quartet”.

Je me permets de diffuser le Communiqué de presse du SNE, de la SGDL et du SNAC sur l’utillisation abusive de textes sous protection droits d’auteur et copyright sans autorisation des détenteurs des-dits droits d’auteur et copyrights

Dr. Jacques COULARDEAU

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.

Background: Report on a simple solution to allow programming of defibrillators in the presence of a Heartmate II (Thoratec Corporation, Pleasanton, CA, USA) ventricular assist device. Ventricular assist devices have become increasingly utilized for patients waiting for heart transplantation as well as those who will be maintained on a permanent support. The Heartmate II, which was recently given Food and Drug Administration approval as a bridge‐to‐transplant device, has a particular anomaly that complicates patient management. The pulse width modulator of the Heartmate II produces electromagnetic noise that interferes with the ability to interrogate and program certain defibrillators, and explantation of the defibrillator has been reported as the only viable solution. Methods: The authors describe the use of cast‐iron pans to reduce the electromagnetic interference between St. Jude Medical's first‐generation Atlas family of defibrillators (St. Jude Medical, St. Paul, MN, USA) an...

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.

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.

The motivation for this case study is to develop notational and analytical tools to transcribe and understand performances of DMIs (digital musical instruments) (Miranda & Wanderley, 2006) recorded in audio and/or video. Moreover, there is the need to communicate analysis to larger audiences, commonly distanced from the technological and quantitative aspects of sound, and the so-called “non-muso” musicians, commonly distanced from the traditional notation of music (Tagg, 2011). Our primary source is the improvisational performance of “Everyone to the Power of One,” a work for solo T-Stick, by a specialist on this instrument, composer-performer D. Andrew Stewart (2010, p.22) in a video recording from 2008, lasting 9 minutes and 14 seconds (Stewart, 2008). The T-Stick is a DMI developed 15 + years ago by Joseph Malloch in his Master’s (2008) studies at IDMIL (Interaction Digital Musical Interfaces Laboratory) in the Schulich School of Music of McGill University, Canada. Differently from most DMIs created in academic environments, the T-Stick (Malloch & Wanderley, 2007) endured almost two decades of existence due to its simplicity of construction, low cost, variety of sensors, relatively easy maintenance and continuous effort to maintain and create up-to-date versions of the instrument at the Input and Music Interaction Laboratory (IDMIL) (Nieva et al., 2018; Niyonsenga & Wanderley, 2023). Also distinctive of the T-Stick is its elementary nature. It is basically an ABS tube with internal and external sensors activated by limb gestures in space, giving it inherent theatrical possibilities on stage (Stewart & Malloch, 2010, p.3094-3096).

Bu araştırma, dijitalleşmenin müzik endüstrisi üzerindeki etkilerini stratejik bir perspektiften incelemektedir. Dijitalleşme, müzik üretiminden dağıtımına, tüketimden ekonomik modellere kadar geniş bir yelpazede köklü değişimlere yol açmıştır. Dijital prodüksiyon yazılımları ve sanal stüdyolar, müzik üretim süreçlerini daha erişilebilir ve maliyet etkin hale getirirken, dijital platformlar ve streaming servisleri müzik dağıtımını kolaylaştırmış ve tüketici deneyimini kişiselleştirmiştir. Bu süreç, bağımsız sanatçılar için yeni fırsatlar yaratırken, aynı zamanda telif hakları ve dijital korsanlık gibi sorunları da beraberinde getirmiştir. Araştırmada, dijitalleşmenin tüketici davranışları üzerindeki etkileri ve ekonomik yapıları üzerindeki dönüşümler detaylı bir şekilde ele alınmaktadır. Dijitalleşmenin müzik endüstrisindeki yeni iş modelleri ve inovasyonlar üzerindeki etkileri, abonelik ve freemium modellerinin yanı sıra blockchain teknolojisinin kullanımı gibi konularla birlikte incelenmiştir. Sanatçıların dijitalleşme sürecinde karşılaştıkları fırsatlar ve zorluklar da derinlemesine analiz edilmiştir.

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.

In the text, the concept of the zombie is presented, serving as
a metaphorical representation in various musical practices.
This notion is also applicable to  the transformation of sound
itself, whether through technologically mediated communication
or in the form of distorted and diminished signals that reach
the listener. A significant theme which is explored is the act of
transgression, defined as the crossing of boundaries. By using
sound related activities as examples of this transgression, numerous instances of boundary crossing become evident, particularly within a technologically dominant reality. Consequently,
we encounter the idea of a zombie listener, a zombie signal, and
a zombie culture. Additionally, concerts serve as a manifestation
of ‘liveness’ due to their mediated nature. The artist performing
on stage does not necessarily create the sound from scratch
but rather reproduces and modifies it. Amidst these distinctive
elements, the recording itself possesses unique properties and
an inherent ontology. It acts as a documentation of fragments
of reality, which is ultimately nothing more than a zombie -like
copy, often significantly removed from the original.

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.

Di era digital, layanan streaming musik seperti Spotify telah menjadi bagian penting dalam kehidupan sehari-hari, menawarkan akses ke jutaan lagu dari berbagai genre. Dengan jumlah konten yang sangat besar, tantangan utama Spotify adalah memberikan pengalaman pengguna yang personal dan relevan melalui algoritma pencarian. Penelitian ini bertujuan untuk menganalisis algoritma pencarian yang digunakan Spotify, memahami mekanisme di baliknya, serta dampaknya terhadap kepuasan dan loyalitas pengguna. Penelitian ini menggunakan pendekatan kualitatif dengan metode studi kasus, melibatkan analisis dokumen dan publikasi teknis terkait algoritma Spotify. Hasil penelitian ini diharapkan memberikan wawasan mendalam tentang personalisasi rekomendasi musik, sekaligus mengisi celah penelitian yang masih minim pada aspek teknis algoritma pencarian. Temuan ini juga berpotensi memberikan panduan bagi pengembangan algoritma pencarian yang lebih efektif di platform streaming musik lainnya.

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.

Requirements engineering (RE), an early phase in software development, is the process of discovery, analysis, modelling and specification of user and business requirements for information systems. The lack of creativity theories and models within RE has been gaining increasing recognition within the RE community. This paper synthesises concepts from creativity research and RE creativity research to build a theoretical foundation for the study of creativity in RE. We argue that creativity in RE goes beyond technical aspects and involves different levels, loci, and interrelated elements including product, process, domain, people and socio-organisational context. Different facets of creativity need to be integrated within RE approaches and methods to effectively foster and support creativity in this field.

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.

This chapter examines a range of approaches to algorithmic music making inspired by biological systems, and considers topics at the intersection of contemporary music, computer science and computational creativity. A summary of core precursor movements both within and beyond musical practice (ALife, cybernetics, systems art etc.) sets the scene, before core models and algorithms are introduced and illustrated. These include evolutionary algorithms, agent-based modelling and self-organising systems, adaptive behaviour and interactive performance systems, and ecosystemic approaches to composition and computational creative discovery. We close by reviewing themes for future work in this area: autonomy and agency, and the poetics of biologically-inspired algorithms.