Music Technology Research Articles

Classifying Technologies during the Assessment, Treatment Planning, Documentation and Evaluation Phases of Music Therapy: A Survey of Board-Certified Practitioners

Music therapists (MT-BCs) use diverse technologies to provide evidence-based personalized interventions to a wide variety of people. Most studies on the technological practices of MT-BCs report a general overview of the tools they use in their daily work. This study offers an new way of understanding technologies used by MT-BCs, classified and situated in the phases of music therapy (MT) practice: Assessment, Treatment Planning, In-Session, Documentation and Evaluation. An online survey was sent to a mailing list of 1,951 board-certified music therapists (MT-BC), and we received 104 responses. Results support distinct functions in technological practices between each of the phases of MT, revealing categories of notetaking and data entry that characterize planning, documentation and evaluation tasks, and a wider diversity of technology configurations in assessment and in-session work. We end by discussing design implications for HCI researchers and designers of music technologies for health, as well as HCI-MT design collaboration to better support the work of the MT-BC community.

Diverse Attitudes Toward AI-Produced Music: A Case Study between Instrument Learners and Non-Instrument Learners in Yangtze River Delta Region

Recently, with the gradual popularization of AI technology in music, AI music generation technology, as a tool, has triggered thoughts about the transformation of traditional music composition while enhancing the innovation and efficiency of music creation. This study aims to explore the different attitudes toward AI-generated music among instrumental and non-instrumental learners in the Yangtze River Delta region of China, so as to increase the knowledge of AI music composition technology. This study uses a questionnaire method to collect quantitative data, with semi-structured interviews as a qualitative supplement. It is found that most people are aware of AI music technology and express acceptance. The style, uniqueness, and quality of AI-generated works, as well as the convergence of the technology on traditional platforms, and copyright issues, are topics of concern. The differential impact of whether or not one has learned a musical instrument on attitudes towards AI music centers on personal preference. The low price of the service was a significant influencing factor for those who embraced the improved AI technology. In addition, instrumental learners placed more emphasis on the professionalism, artistry, and emotionality of AI music, while non-instrumental learners placed more emphasis on the technological convenience and affordability of AI music. This study helps to demonstrate the influence of instrumental learning experiences on people’s attitudes towards AI music generation, and can provide inspiration for further exploration of music education research in cross-cultural contexts. Meanwhile, the emotional relationship and cognitive responses between humans and AI music can be revealed more.

Morten Qvenild – The HyPer(sonal) Piano Project

Towards a (per)sonal topography of grand piano and electronics How can I develop a grand piano with live electronics through iterated development loops in the cognitive technological environment of instrument, music, performance and my poetics? The instrument I am developing, a grand piano with electronic augmentations, is adapted to cater my poetics. This adaptation of the instrument will change the way I compose. The change of composition will change the music. The change of music will change my performances. The change in performative needs will change the instrument, because it needs to do different things. This change in the instrument will show me other poetics and change my ideas. The change of ideas demands another music and another instrument, because the instrument should cater to my poetics. And so it goes… These are the development loops I am talking about. I have made an augmented grand piano using various music technologies. I call the instrument the HyPer(sonal) Piano, a name derived from the suspected interagency between the extended instrument (HyPer), the personal (my poetics) and the sonal result (music and sound). I use old analogue guitar pedals and my own computer programming side by side, processing the original piano sound. I also take out control signals from the piano keys to drive different sound processes. The sound output of the instrument is deciding colors, patterns and density on a 1x3 meter LED light carpet attached to the grand piano. I sing, yet the sound of my voice is heavily processed, a processing decided by what I am playing on the keys. All sound sources and control signal sources are interconnected, allowing for complex and sometimes incomprehensible situations in the instrument´s mechanisms. Credits: First supervisor: Henrik Hellstenius Second Supervisors: Øyvind Brandtsegg and Eivind Buene Cover photo by Jørn Stenersen, www.anamorphiclofi.com All other photo, audio and video recording/editing by Morten Qvenild, unless stated.

On the Fusion of Hainan Folk Songs and Modern Music

Hainan folk song, as a bright pearl in the treasure house of Chinese folk music, carries the rich regional culture, historical memory and national emotion. Its unique melody, lyric content and singing style not only show the natural scenery and cultural customs of Hainan Island, but also deeply reflect the life philosophy and aesthetic taste of Hainan people. With the acceleration of globalization and the rapid development of modern music technology, Hainan folk songs are facing unprecedented opportunities and challenges. This paper aims to explore the possibility, path, significance and influence of the integration of Hainan folk songs and modern music, and analyze the cultural value reconstruction and artistic innovation in the process of the integration of the two, in order to provide new ideas and direction for the inheritance and development of Hainan folk songs.

Dedicated low-cost electronic ocarina for people with COPD: Rationale and prototype development

ABSTRACT Introduction Chronic obstructive pulmonary disease (COPD) is a condition characterized by airflow obstruction which can lead to physical and psychosocial challenges, with a higher prevalence in developing countries. Non-pharmacological interventions for this group of people include pulmonary rehabilitation as well as music interventions. Although music technology was recommended to adjust to the user’s breathing capacity for music-making and to gather information about their performance, music therapy trials used acoustic wind instruments for their rehabilitation. This interdisciplinary project aims to develop a dedicated electronic wind instrument for people with COPD. Method This project follows a systematic prototype methodology that includes product research, instrument development, and user validation. Based in Brazil, our team has decided on an electronic ocarina based on its cultural features, its popularity as a digital application, and its potential for respiratory training. Unlike existing technologies, the prototype intends to be dedicated and a low-cost solution. Results The development process includes decision making about the appropriate mouthpiece, sensors, Arduino, pushbuttons, 3-D printing projects, building a MIDI interface and a dedicated software. This is an ongoing project, and our team is in the MIDI interface development stage. We aim to run the first hardware trial with users so that we can integrate their feedback into the functional prototype and the dedicated software for the following trials. Discussion This project’s strengths rely on the innovation of building viable electronic wind instruments that can facilitate self-management of people with COPD in developing countries, where access to healthcare can be challenging.

Virtual Piano using Assembly Language Programming

In the field of music technology and computer programming, the concept of a virtual piano represents a fascinating intersection. This project aims to develop software using assembly language and TASM (Turbo Assembler), emulating the functionality of a physical piano. The goal is to replicate the production of musical notes similar to those generated by pressing keys on an actual piano. At its core, the virtual piano program orchestrates various components seamlessly. The audio processing module synthesizes distinct notes, each defined by a unique frequency, as users interact with the program by pressing mapped keyboard keys. A thoughtfully designed user interface is crucial, as it bridges the gap between the user and the underlying program, facilitating smooth interaction. By integrating these elements harmoniously, the virtual piano emerges as a comprehensive tool that merges creativity with technology. Harnessing the intricacies of low-level programming allows for the accurate translation of user input into coherent musical notes. Additionally, a solid foundation in audio processing is essential for achieving an authentic rendition of piano sounds. Ultimately, upon completion, the virtual piano program transcends mere software, embodying a transformative musical experience. It not only serves as a functional instrument but also showcases the potential of assembly language in creating sophisticated and engaging digital applications. Through detailed audio synthesis and a user-friendly interface, this project highlights the convergence of technology and art, offering users an immersive and educational encounter with music and programming.

Building a Conceptual Model of Independent Studio Production in Undergraduate Music Technology Courses Through Authentic Assessment

Building a Conceptual Model of Independent Studio Production in Undergraduate Music Technology Courses Through Authentic Assessment

An investigation of Korean music teachers’ perceptions of technology in music classes

This study explored Korean music teachers’ use of technology and views on integrating technology into music classrooms. Using a mixed methods approach, the researchers administered a survey to 105 music teachers and conducted semi-structured interviews with five music teachers. The results showed that about one-fourth of survey respondents indicated that they rarely incorporate music technology when teaching singing and playing, and generally, music teachers reported that they use music technology infrequently for main class activities. In addition, these Korean music teachers demonstrated limited knowledge of fourth industrial revolution smart technologies, despite viewing AI and the metaverse as potentially helpful for music teaching. Notably, this study found that music teachers consider it necessary to utilize music technologies that enable them to broaden the scope of music curricula.

Digital musicianship in post-pandemic popular music education

The COVID-19 pandemic has brought about dramatic changes in popular music education, underscoring the importance of technology in both practice and transmission. Nevertheless, the celebration of technological integration as a one-stop solution has led to some challenges remaining overlooked and unsolved, resulting in an increasing mismatch between popular music education and the growth of online musical engagement among young people. Framed by the notion of digital musicianship, this position paper presents an overview of the adoption of technology in popular music education within the lockdown period, in the process raising concerns about whether such revisions can adequately address the challenges faced by popular music education. This leads to a discussion of a potential revamp of digital musicianship as a response to the continued and expanding presence of technology within popular music education and the post-pandemic teaching and learning environment. The authors assert that digital musicianship should encompass learners’ ability to perceive and adopt technologies for online and remote music-making, and critically evaluate their validity and quality in various contexts. Additionally, there is a need to critically address the homogeneity of musical cultures and technological determinism embedded within the design of music technology, alongside tackling the issues of inequality and accessibility.

END-TO-END AUTOMATIC MUSIC TRANSCRIPTION OF POLYPHONIC QANUN AND OUD MUSIC USING DEEP NEURAL NETWORK

This paper introduces an automatic music transcription model using Deep Neural Networks (DNNs), focusing on simulating the "trained ear" in music. It advances the field of signal processing and music technology, particularly in multi-instrument transcription involving traditional Turkish instruments, Qanun and Oud. Those instruments have unique timbral characteristics with early decay periods. The study involves generating basic combinations of multi-pitch datasets, training the DNN model on this data, and demonstrating its effectiveness in transcribing two-part compositions with high accuracy and F1 measures. The model's training involves understanding the fundamental characteristics of individual instruments, enabling it to identify and isolate complex patterns in mixed compositions. The primary goal is to empower the model to distinguish and analyze individual musical components, thereby enhancing applications in music production, audio engineering, and education

THE RELATIONSHIP BETWEEN MUSIC, TECHNOLOGY, AND LISTENERS IN THE DIGITAL AGE

This article analyses the intricate dynamics of music technology's growth and its effect on listener involvement and the economic framework of the music industry. These highlights are the crucial significance of technical advancement in revolutionising the process of creating, distributing, and consuming music, specifically emphasising the shift from conventional to digital media. The study highlights the need to grasp historical backgrounds, technological milestones, and legal issues in understanding the intricate connection between artists, listeners, and the industry in the digital age. Therefore, seeks to elucidate the diverse effect of music technology on listener engagement and economic factors through thorough analysis, including case studies and projections for the future. This article advocated for considering ethical considerations, fostering ties between artists and listeners and investigating new business structures to create a sustainable and thriving music ecosystem amidst the continuous digital transformation.

Presage: First year music students’ experiences, understandings, expectations and aspirations on entering an undergraduate music program

For professional musicians, all aspects of music play an integrated role in music-making. However, for first year music students, who usually begin their studies identifying as performers, some may question the value of learning these other areas of music. This study investigates the responses of 80 first year undergraduate music students to questions about aspects of the music study they were about to begin, and their identity as a musician. The students were enrolled in two universities located in suburban and regional Australia. Questions were given to students in their first week of the Bachelor of Music course before classes began. In doing so, the study sought to capture what experiences, understandings, expectations and aspirations incoming students bring to, and have for, an undergraduate music course, and how they identify as musicians as they begin the course. As expected, findings noted experience with music performance and the possible influence of the location of the universities in relation to a low level of music theory knowledge. Yet understanding student interest in music technology, musicology and the music of Australian First Nations people reveals presage opinions which can help design authentic curriculum for the education of the 21st century musician.

Considerations and Concerns of Professional Game Composers Regarding Artificially Intelligent Music Technology

Considerations and Concerns of Professional Game Composers Regarding Artificially Intelligent Music Technology

Multimodal music datasets? Challenges and future goals in music processing

The term “multimodal music dataset” is often used to describe music-related datasets that represent music as a multimedia art form and multimodal experience. However, the term “multimodality” is often used differently in disciplines such as musicology, music psychology, and music technology. This paper proposes a definition of multimodality that works across different music disciplines. Many challenges are related to constructing, evaluating, and using multimodal music datasets. We provide a task-based categorization of multimodal datasets and suggest guidelines for their development. Diverse data pre-processing methods are illuminated, highlighting their contributions to transparent and reproducible music analysis. Additionally, evaluation metrics, methods, and benchmarks tailored for multimodal music processing tasks are scrutinized, empowering researchers to make informed decisions and facilitating cross-study comparisons.

Everyday Uses of Music Listening and Music Technologies by Caregivers and People With Dementia: Survey and Focus Group Study.

Music has long been identified as a nonpharmacological tool that can provide benefits for people with dementia, and there is considerable interest in designing technologies to support the use of music in dementia care. However, to ensure that music technologies are appropriately designed for supporting caregivers and people living with dementia, there remains a need to better understand how music is currently used in everyday dementia care at home. This study aims to understand how people living with dementia and their caregivers use music and music technologies in everyday caring, as well as the challenges they experience using music and technology. This study used a mixed methods design. First, a survey was administered to 13 people living with dementia and 64 caregivers to understand their use of music and technology. Subsequently, 18 survey respondents (family caregivers: n=12, 67%; people living with dementia: n=6, 33%) participated in focus groups regarding their experiences of using music and technology in care. Interview transcripts were analyzed using reflexive thematic analysis. Most of the survey respondents (people living with dementia: 9/13, 69%; family caregivers: 47/63, 75%) reported using music often or very often in their daily lives. Participants reported a range of technologies used for listening to music, such as CDs, radio, and streaming services. Focus groups highlighted the benefits and challenges of using music and music technologies in everyday care. Participants identified using music and music technologies to regulate mood, provide joy, facilitate social interaction and connection, encourage reminiscence, provide continuity of music use before and after the dementia diagnosis, and make caregiving easier. The challenges of using music technology in everyday caring included difficulties with staying up to date with evolving technology and low self-efficacy with technology for people living with dementia. This study shows that people with a dementia diagnosis and their caregivers already use music and music technologies to support their everyday care needs. The results suggest opportunities to design technologies that enable easier access to music and to support people living with dementia with recreational and therapeutic music listening as well as music-based activities.

The possibility of the application of modern vocal music technology in vocal music education / La potencial aplicación de las nuevas tecnologías de la música vocal en la enseñanza de la música vocal

Information technologies in the modern world cover many fields of activity, including education. This contributes to the transformation of the educational process and the development of students’ independence. The main purpose of this paper is to assess the possibilities of using modern vocal music technologies in Chinese music education. To achieve the above purpose, the authors of the manuscript analysed the data obtained and divided the interactive technologies that can be used for vocal music education into the following four groups: software for studying theoretical frameworks, universal software, spectrogram software and audio editing software. The selected applications help learners acquire extensive vocal knowledge. Using the Likert scale, the researchers found that the applications of preference chosen by the respondents in each of the presented groups were Explain Everything (93%), Sing Sharp (87%), Sodaphonic (73%) and MAGIX Music Maker (82%). Sing Sharp provides vocal lessons in the form of a game. Sodaphonic eliminates low-quality performance elements in the process of creation of audio files. MAGIX Music Maker helps users create new songs using virtual musical instruments.

Maker music education: Towards a post-digital, participatory and empowering music education

This theoretical paper aims to delineate a music-specific interpretation of a concept known as maker education by addressing substantial challenges within educational technologies, particularly in music education. Challenges include the potential constraints on musical agency, limitations to specific music genres and sounds and the environmental impact of increased music technology use in classrooms. In response, the maker education concept is introduced, adapted and refined as a pathway towards a post-digital, participatory and empowering music education. Employing a Design-Based Research approach, design principles for ‘maker music education’ are delineated, and the subsequent steps in the research process are outlined.

Cripping Virtuosity: Cultivating Virtuosity from Disability through Music Technology

What is the sound of disability? What is the sound of a body that defies and resists normative standards? And further, is disability an instrument and, ultimately, virtuosity itself? For me, these have been everlasting questions. I acquired a disability at the age of seven from a car accident that impaired my left hand. Following the accident, I transitioned from various musical instruments to find one I could adapt to. More recently, this has led to engaging with various music technologies that fit my body. Specifically, I am searching for an instrument that fits rather than resists my body and signals my disability as an asset rather than a deficit in searching for my own virtuosity. Therefore, this article details my interest in reimagining virtuosity through the intersection of disability and digital music technology. I will describe my experience with the MUGIC gestural device (developed by Mari Kimura) and preliminary results from experimenting with the MUGIC. I will include background on the crux of virtuosity and the usefulness of mapping for reimagining virtuosity, as well as musical results and concluding thoughts regarding virtuosity, music technology, and disability. Lastly, I will argue that “cripping” virtuosity involves a widening understanding of what virtuosity can signify, realize, and magnify, cultivating what is curious, authentic, and at the core of art-making -- a fundamental self-expression beyond comparison and not easily replicated and a virtuosity true to oneself.

Wallace Stevens, Music Technology, and the Resonance of Poetry

Abstract Wallace Stevens titled his first poetry collection, Harmonium (1923), after a nineteenth-century musical instrument: the American reed organ. The title frames the book as a period piece, an emblem of a bygone age, but also as a musical instrument, a tool for producing new performances in the present. This tension, bound up in the history of the reed organ and the book that bears its name, can help us interpret a similar tension in contemporary poetry studies, where scholars of historical poetics seek to read poetic form against the media conditions of narrow historical moments, and proponents of New Formalism stress the importance of experiencing poetic sound and rhythm in real time. This essay, building on Stevens’s example, argues that the concept of acoustic resonance can help reconcile synchronic and diachronic methodologies and thereby generate sophisticated new ways to analyze poetic sound.

Comparative Symbolic Analysis of the Ethno-Fusion Genre: Insights and Perspectives

Abstract This study explores the integration of music and technology, illustrating their potential to collaboratively push the boundaries of musical exploration. Despite traditionally being viewed as unrelated, the combination of these two fields can significantly contribute to the progress of musical development. This study uses advanced computational methods to build a dataset filled with symbolic musical sequences that belong to a specific genre. This dataset is shown to be highly accurate and provides a detailed analysis of frequencies when examined closely, highlighting its quality and depth. We subject our dataset to comparative analysis with the renowned MAESTRO dataset, employing chromagrams to examine audio signals, rhythms, chords, solos, and note patterns in MIDI format through a variety of methods. This comparison underscores the superior quality of our sequences relative to those in the MAESTRO dataset, emphasizing the meticulousness of our sequence creation process. Moreover, we conduct internal evaluations of our dataset using both three-dimensional and two-dimensional approaches to melody representation, confirming its viability for future scholarly work. This effort seeks to enhance the music field by integrating computer science insights and methodologies, expanding the scope for future music technology research. It highlights the collaborative potential between musical creativity and technological advances in ongoing studies.