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The majority of currently used music recommendation systems rely on content-or collaborative-based recommendation engines. However, a user's choice of music is not only based on past musical tastes or its actual substance. but also based on how that individual is feeling. This study suggests a framework for emotion-based music recommendations that can identify a user's mood based on data from wearable physiological sensors. A wearable computing device that includes physiological sensors for galvanic skin response (GSR) and photo plethysmography (PPG) specifically categorises a user's emotion. The emotion data is included as additional data to any collaborative or content-based recommendation engine. These data can therefore be used to enhance the functionality of the current recommendation engines. Since arousal and valence can be predicted from a variety of physiological variables, the problem of emotion recognition in this work is seen as such. On the GSR and PPG signal data of 32 people, with or without feature fusion, experimental results are obtained using decision tree, random forest, support vector machine, and k-nearest algorithms. The results of in-depth experiments using real data show that the suggested emotion classification method, which can be used, is effective. [ABSTRACT FROM AUTHOR]

Non-Linguistic Utterances (NLUs) are essential parts of emotive exchanges, not only in human-human interactions but also in the context of human-robot interactions. This research aims to deepen our understanding of emotive sounds for the domain of human-robot exchanges. We investigated the connections between certain audio qualities and the perception of emotional arousal and pleasure, designing a novel mapping of musical and prosodic audio parameters to a dimensional model of emotion which allows a robot to express a range of emotions. To assess the emotive sounds, we conducted an end-user evaluation in which participants were asked to interpret the emotive NLUs conveyed by robots. In the evaluation we examined 4 archetypal emotions: excitement, contentment, sadness, and anger. We placed participants' responses within the pleasure-arousal affect grid to analyze the distinctiveness of the emotive sounds. The study revealed that participants consistently associated excited, sad and angry NLUs with significantly different emotional states but did not do so for content NLUs. These findings contribute valuable insights into how to design NLUs which can enhance the emotional depth of human-robot interactions, with potential applications across various domains. [ABSTRACT FROM AUTHOR]

Every human being is essentially gifted with basic power of art, some of them with music. Statics unveiled that in a large country like India holds 20% of deaf population in world [1]. These hearing impaired also deserve same social and cultural respect from rest of the country. Darrow [2] told that only a small percentage of hearing impaired are totally disable for hearing. As per her as music contains lots of frequencies rather than complex frequencies present in speech signal. it's perception is more accessible to the hearing impaired. Music has the ability to touch everybody's heart irrespective to their age and ability but the choice of right music is necessary to achieve the therapeutic purpose. The proposed invention is an initiative taken to provide the music therapy to theses communication handicaps to make their life smooth. This is actually based on Digital Signal Processing(DSP) framework implementing Artificial Intelligence (AI)and Machine Intelligence(MI) implementation. [ABSTRACT FROM AUTHOR]

The Fil Laptop Orchestra, aka FiLOrk, is an electronic music ensemble that performs through live coding, i.e. collaboratively editing in a shared document to generate sound. In forming FiLOrk, we set out to use music performance and tactile graphics to address a lack of accessible tools and curricula for teaching Blind and Visually Impaired (BVI) people to code. In this poster, researchers and the high school members of FiLOrk, who use screen readers and magnification, report their experiences composing and performing two original works that incorporate assistive technologies. We discuss a shift from instruction to open-ended experimentation, and we highlight technical and pedagogical opportunities for making live coding more accessible. [ABSTRACT FROM AUTHOR]

This article is motivated by the problem of learning the art of music at the Padang City State Elementary School. In this elementary school, the implementation of art education has not received sufficient attention from teachers. It can be seen from the allocation of learning time and classroom teachers who do not have an educational background in art (music). The impact that arises, on average, students do not have independence in creativity and are less active in participating in musical activities both at school and outside of school. It is deemed necessary to borrow Lesson Study, which includes methods, approaches, and learning strategies as a pattern for teaching the art of music to provide an alternative point of view on the issue of appropriate and planned methods in teaching music education at elementary schools. It includes the paradigm of teaching music to fix this problem substantially. The results obtained can provide an alternative for developing music learning. [ABSTRACT FROM AUTHOR]

Learning to play a musical instrument and engaging in musical activities have enabled blind and/or low vision people to develop self-identity, find community and pursue music as a career. However, blind and/or low vision music learners face complex obstacles to learn music. They are highly reliant on their learning environment and music teachers for accommodations and flexibility. Prior research has identified the challenges faced by blind and/or low vision musicians and recognized the importance of touch for music reading and physical guidance. However, limited research has addressed these challenges through the development of assistive technology. The development of music computer technologies with haptics and the affordances of wearable technologies provides encouraging opportunities to develop haptic wearable devices to support blind and/or low vision music learning. I identify three unexplored research questions: (1) what design considerations must be addressed in future assistive technologies for BLV music learning, (2) how can wearable technologies with vibrotactile feedback support BLV student-teacher interactions, and (3) what are the long-term benefits and limitations of the use of assistive technologies for BLV music learning? I outline my research to date and highlight my findings. [ABSTRACT FROM AUTHOR]

While many activities that involve human movement customarily use music or sound as an accompaniment to enhance the overall experience of the performers and viewers, the details of musical aspects have often been neglected. Issues on synchronization between music and movement have often been debated particularly in the field of dance since music can to certain extent be abstract and subjective. Although regulations in many sports routines emphasize that using music merely as background is prohibited, the match between the two has not always been convincing for many reasons such as preference, lack of musical knowledge and musicianship. To address the issue, through composition technique and computer music software, this research constructed simulated models to illustrate the importance of fundamental musical aspects in transforming the visual perceptions of viewers towards the same action or movements. This paper reports a section from a study on how visual perception of expressiveness in a Tai Chi routine is enhanced by increasing the synchronization between music and movement. In the experiment, two videos were produced and then evaluated by thirty viewers. One video features the original music used by the athletes and the other is accompanied by a new composition with increased synchronization between music and movements. The result shows a significant difference between the videos in which the enhanced synchronized video provides a better visual perception of the expression of the performance. This research proposes a simulation approach using theories in multimedia and perception to assist athletes in achieving an optimal combination of music-movement synchronisation. [ABSTRACT FROM AUTHOR]

The Katu ethnic group in Thua Thien Hue province lives mainly in Nam Dong and A Luoi districts. Katu people take great pride in their vivacious unique folk music, including a variety of music forms and a diversity of traditional musical instruments. Folk music is featured significantly in every aspect of their cultural life. Apparently, musical imprint is evident in all cultural practices and activities. Based on functionalist approach and ethnographic research method, this study shows that folk music plays an important role in Katu people's culture and religion as it has ultimately been a qintessential part of most Katu people's spiritual life from birth until death. Researching, preserving and promoting folk music of Katu ethnic group in central Vietnam in particular, will contribute tremendously to the contemporary conservation of the people's vibrant indigenous culture imbued with unique identity. [ABSTRACT FROM AUTHOR]

Musical training has recently gained additional interest in education as increasing neuroscientific research demonstrates its positive effects on brain development. Neuroimaging revealed plastic changes in the brains of adult musicians but it is still unclear to what extent they are the product of intensive music training rather than of other factors, such as preexisting biological markers of musicality. Psychological and neuroscientific research demonstrates that musical training in children is associated with heightening of sound sensitivity as well as enhancement in verbal abilities and general reasoning skills. Studies in the domain of auditory cognitive neuroscience have begun revealing the functional and structural brain plasticity underlying these effects. Furthermore, music is also known to have a powerful emotional impact. Neuroimaging studies have shown that musically induced emotions involve very similar brain regions that are also implicated in non-musical basic emotions. Listening to music requires certain perceptual abilities, including pitch discrimination, auditory memory, and selective attention in order to perceive the temporal and harmonic structure of the music as well as its affective components and engages a distributed network of brain structures. [ABSTRACT FROM AUTHOR]

Steel grandstands are structures that are frequently used during sport games and many other non-sporting events, such as festivals, music concerts, or even politicians rallies, with participation of a large number of attendees. Unfortunately, the presence of unexpected excessive dynamic loads due to unpredictable behaviour of spectators (e.g. synchronized harmonic jumping or swaying) may lead to serious structural damage or even total collapse of a structure, and such cases were observed in the past. Given that, steel grandstands should be designed so as to withstand the unexpected dynamic loads leading to damage and, therefore, ensure maximum safety for all participants. Building codes, however, apply different approaches. According to the Polish Standard, an additional horizontal load equal to 6% of the total vertical load acting on a grandstand has to be considered at the design stage. The British Standard, on the other hand, specifies a higher value of horizontal load, i.e. 10% of the total vertical load that should be taken into account. Therefore, the aim of the present paper is to conduct a dynamic numerical investigation focused on the response of a steel temporary grandstand subjected to human-induced vibrations due to jumping with two different values of horizontal load (6% and 10% of the total vertical load) as well as for two different bracing elements (typical tubular member and polymer damper). The results of the study clearly show that the response of a temporary steel scaffolding grandstand equipped with two different bracing elements taking into account two different approaches is substantially different. [ABSTRACT FROM AUTHOR]

Torino is a tangible programming environment designed for teaching the computational thinking curriculum in the UK to children who are blind or low vision (henceforth, just children) in an inclusive setting. In this paper we describe the experience of children in Bangalore, India, when Torino was introduced to them as a toy for creating and sharing stories, songs and music. We conducted 12 play sessions with 12 children (4 girls and 8 boys) with diverse backgrounds belonging to three different schools for the blind. We briefly present the reasons for play being central to our effort of bringing computational thinking to children who are blind and low vision in India, and share some experiences of the children and some insights that we have gathered so far: Children not only enjoyed every session, they rapidly moved from playing with pre-created examples, to making changes, to demanding that their favorite stories be told. In observing such play, we could infer that they have grasped the basic concepts of computational thinking? flow of control, variables, loops? though not articulated in that vocabulary. [ABSTRACT FROM AUTHOR]

By applying the labour process theory approach (LPT), this paper proposes a critical conceptualization of the relations between creative production and alternative copyright frameworks, known as copyleft. This study is based on interviews with creators of sampled music, who actively participate in the consumption and production of content that is distributed using the Creative Commons. The findings reveal how copyleft's legal structure supports a distinct labour process that is based on commoning, which is performed by sharing and sourcing musical pieces. Even though the exchange value and content markets are identified as crucial elements of this process, its function is mostly tied to the undiscovered use-value, which might be unveiled and valorised by other users in the process of commoning. In this labour process, formal control is replaced by a set of actions connected to self-control and reputation. In the discussion section I provide arguments for two current debates in critical organization studies: (1) a debate on 'free labour', which I compliment with a conceptualisation of 'commons-based labour', and (2) the 'false consciousness' controversy, depicting illusory resistance within the digital commons discourse, which I confront with my findings on labour and digital commoning. In the growing debate on digital labour, my adaptation of LPT helps to better highlight labourer relations, production processes, products and their relationships to capital accumulation. [ABSTRACT FROM AUTHOR]

Gaze-tracking technologies can enable computer access for users who are unable to use standard input devices. However, using gaze as input poses challenges for interactions that require visual planning, like playing a digital instrument. We explore how multimodality can support eye-controlled musical expression by designing different multi-modal gaze interactions around a digital instrument we call Dueto. We tackle three design goals: creating an instrument that is explorable, easy to learn, and allows feature controllability. We showcase three different multimodal interactions for music playing such as eye gaze only, gaze + switch, and gaze + partner mode. [ABSTRACT FROM AUTHOR]