Difference between revisions of "COS597b Fall2012"

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* Daniel Ryan '13
 
* Daniel Ryan '13
 
* Alejandro Van Zandt-Escobar, CS '14
 
* Alejandro Van Zandt-Escobar, CS '14
* Zeerak Ahmed '13
 
 
* Nikitas Tampakis '14
 
* Nikitas Tampakis '14
 
* Jennifer Guo, first year grad
 
* Jennifer Guo, first year grad
* Tobe Nwanna, G2
 
  
 
== Assignments ==
 
== Assignments ==
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* <b>Assignment 3, due 10/9</b>  
 
* <b>Assignment 3, due 10/9</b>  
 
** Create a gesturally-controlled "instrument" that allows you to interactively control sound in real-time. Use an explicit mapping strategy that you program in whatever environment(s) you choose to use (i.e., no machine learning). Reflect on what was easy and hard to do in creating the mapping, what you found rewarding or frustrating about the process, and the process by which you chose the mapping you did. Submit your response on Piazza using #assignment3.
 
** Create a gesturally-controlled "instrument" that allows you to interactively control sound in real-time. Use an explicit mapping strategy that you program in whatever environment(s) you choose to use (i.e., no machine learning). Reflect on what was easy and hard to do in creating the mapping, what you found rewarding or frustrating about the process, and the process by which you chose the mapping you did. Submit your response on Piazza using #assignment3.
** Feel free to build on any of your previous assignments. Easy-to-use controllers include the built-in laptop inputs (see http://www.smelt.cs.princeton.edu), the Wiimote (OSCulator is recommended if you're on a Mac), or joysticks (we have some you can borrow).
+
** Feel free to build on any of your previous assignments. Easy-to-use controllers include the built-in laptop inputs (see http://smelt.cs.princeton.edu), the Wiimote (OSCulator is recommended if you're on a Mac), or joysticks (we have some you can borrow).
 
** [http://en.wikipedia.org/wiki/Open_Sound_Control OpenSoundControl] is a good tool for patching together code in different environments, e.g. if you want to use Smelt to capture motion sensor input and send it to pd, or if you want a ChucK program to receive Wiimote messages from OSCulator. Google for OSC examples for the languages you're using, and or post to piazza and get others to share their code with you.
 
** [http://en.wikipedia.org/wiki/Open_Sound_Control OpenSoundControl] is a good tool for patching together code in different environments, e.g. if you want to use Smelt to capture motion sensor input and send it to pd, or if you want a ChucK program to receive Wiimote messages from OSCulator. Google for OSC examples for the languages you're using, and or post to piazza and get others to share their code with you.
 
* <b>Assignment 4, due 10/11</b>
 
* <b>Assignment 4, due 10/11</b>
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*** [http://cmmr2012.eecs.qmul.ac.uk/ International Conference on Computer Music Modeling and Retrieval]: A conference that is maybe not quite as broad as ICMC, focused on modeling and retrieval. Includes music emotion analysis, spatial audio, synthesis, computer models of perception and cognition, music information retrieval, computational musicology, others. (You'll have to google for each year individually to find proceedings by year.)
 
*** [http://cmmr2012.eecs.qmul.ac.uk/ International Conference on Computer Music Modeling and Retrieval]: A conference that is maybe not quite as broad as ICMC, focused on modeling and retrieval. Includes music emotion analysis, spatial audio, synthesis, computer models of perception and cognition, music information retrieval, computational musicology, others. (You'll have to google for each year individually to find proceedings by year.)
 
*** If there is another venue you think would be appropriate to add, just say so (on piazza or in class).
 
*** If there is another venue you think would be appropriate to add, just say so (on piazza or in class).
 +
* <b>Written final project proposals due November 4</b>. More info will be posted soon & discussed in class.
 +
* You will be scheduling a 30-minute meeting to discuss your project proposal for the week of <b>November 5</b>.
  
 
== Schedule ==
 
== Schedule ==
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*** pd: Avneesh
 
*** pd: Avneesh
 
*** chuck: Sasha
 
*** chuck: Sasha
*** supercollider: Danielle
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*** supercollider: Danielle Bragg
 
** Reading 1: Chris Chafe, [https://ccrma.stanford.edu/~cc/lyon/historyFinal.pdf "A Short History of Digital Sound Synthesis by Composers in the United States"]
 
** Reading 1: Chris Chafe, [https://ccrma.stanford.edu/~cc/lyon/historyFinal.pdf "A Short History of Digital Sound Synthesis by Composers in the United States"]
 
*** Response link: https://docs.google.com/spreadsheet/viewform?formkey=dDRGTEk3czAtanpNUTlmTWxaY2EwNXc6MA
 
*** Response link: https://docs.google.com/spreadsheet/viewform?formkey=dDRGTEk3czAtanpNUTlmTWxaY2EwNXc6MA
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* 2 October: Musicology crash-course on Fauvel
 
* 2 October: Musicology crash-course on Fauvel
 
** <b>Assignment 2 due (post to Piazza: see instructions above)</b>
 
** <b>Assignment 2 due (post to Piazza: see instructions above)</b>
** System/Work of the day: Sasha
 
 
** Guest lecturer: Anna Zayaruznaya (Music @ Princeton)
 
** Guest lecturer: Anna Zayaruznaya (Music @ Princeton)
 
** Reading: Introduction to Fauvel Studies, + lines 1-666 of poem (English translation + Gallica manuscript + French if possible) (Posted on Piazza)
 
** Reading: Introduction to Fauvel Studies, + lines 1-666 of poem (English translation + Gallica manuscript + French if possible) (Posted on Piazza)
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** Supervised learning overview & Wekinator demo, time permitting (Rebecca)
 
** Supervised learning overview & Wekinator demo, time permitting (Rebecca)
 
*** TODO: Post slides
 
*** TODO: Post slides
*** TODO: Put assignments in separate category
 
 
* 11 October: Gesture analysis algorithms and tools: Part 1 of 2
 
* 11 October: Gesture analysis algorithms and tools: Part 1 of 2
 
** <b>Assignment 4 due</b> (see above)
 
** <b>Assignment 4 due</b> (see above)
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*** Leader: PLEASESIGNUP
 
*** Leader: PLEASESIGNUP
 
** Reading 1: Fiebrink, R., D. Trueman, and P. R. Cook. [http://www.cs.princeton.edu/%7Efiebrink/publications/FiebrinkTruemanCook_NIME2009.pdf “A meta-instrument for interactive, on-the-fly machine learning.”] Proceedings of New Interfaces for Musical Expression (NIME), Pittsburgh, June 4–6, 2009.
 
** Reading 1: Fiebrink, R., D. Trueman, and P. R. Cook. [http://www.cs.princeton.edu/%7Efiebrink/publications/FiebrinkTruemanCook_NIME2009.pdf “A meta-instrument for interactive, on-the-fly machine learning.”] Proceedings of New Interfaces for Musical Expression (NIME), Pittsburgh, June 4–6, 2009.
*** Response URL: TODO
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*** Response URL: https://docs.google.com/spreadsheet/viewform?formkey=dG5PaGNfRTBMbzdvTk5oT2twaDVDcXc6MA
 
*** Discussion leader: Rahulram Sridhar
 
*** Discussion leader: Rahulram Sridhar
** Reading 2: N. Gillian, R. B. Knapp, and S. O’Modhrain. [http://www.nickgillian.com/papers/Gillian_NDDTW.txt "Recognition of multivariate temporal musical gestures using n-dimensional dynamic time warping."] In Proceedings of the 2011 International Conference on New Interfaces for Musical Expression (NIME11), Oslo, Norway, 2011.
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** Reading 2: N. Gillian, R. B. Knapp, and S. O’Modhrain. [http://www.nickgillian.com/papers/Gillian_NDDTW.pdf "Recognition of multivariate temporal musical gestures using n-dimensional dynamic time warping."] In Proceedings of the 2011 International Conference on New Interfaces for Musical Expression (NIME11), Oslo, Norway, 2011.
*** Response URL: TODO
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*** Response URL: https://docs.google.com/spreadsheet/viewform?formkey=dEloWU9ZZVVpOHJSMzNBLTdYRG1WOVE6MA
*** Discussion leader: PLEASESIGNUP
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*** Discussion leader: Edward Zhang
 
* 16 October: Gesture analysis algorithms and tools: Part 2 of 2
 
* 16 October: Gesture analysis algorithms and tools: Part 2 of 2
** System/Work of the day: PLEASESIGNUP
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** System/Work of the day: Katie Wolf
 
** Tutorial: 5-to-10-minute overview on neural networks
 
** Tutorial: 5-to-10-minute overview on neural networks
 
*** Leader: Jennifer Guo
 
*** Leader: Jennifer Guo
 
*** Optional reference (early use of NNs in music): M. Lee, A. Freed, and D. Wessel. [http://pdf.aminer.org/000/313/669/the_mixture_of_neural_networks_adapted_to_multilayer_feedforward_architecture.pdf Neural networks for simultaneous classification and parameter estima- tion in musical instrument control]. Adaptive and Learning Systems, 1706:244–55, 1992.
 
*** Optional reference (early use of NNs in music): M. Lee, A. Freed, and D. Wessel. [http://pdf.aminer.org/000/313/669/the_mixture_of_neural_networks_adapted_to_multilayer_feedforward_architecture.pdf Neural networks for simultaneous classification and parameter estima- tion in musical instrument control]. Adaptive and Learning Systems, 1706:244–55, 1992.
 
** Reading 1: F. Bevilacqua, B. Zamborlin, A. Sypniewski, N. Schnell, F. Guedy, and N. Rasamimanana. [http://www.springerlink.com/content/v8pn885111256625/?MUD=MP Continuous realtime gesture following and recognition]. <i>Springer Lecture Notes in Computer Science, Volume 5934, Gesture in Embodied Communication and Human-Computer Interaction</i>, Pages 73-84, 2010. <b>Please be sure to download directly from SpringerLink, as not all PDFs you'll find online include the complete text.</b>  
 
** Reading 1: F. Bevilacqua, B. Zamborlin, A. Sypniewski, N. Schnell, F. Guedy, and N. Rasamimanana. [http://www.springerlink.com/content/v8pn885111256625/?MUD=MP Continuous realtime gesture following and recognition]. <i>Springer Lecture Notes in Computer Science, Volume 5934, Gesture in Embodied Communication and Human-Computer Interaction</i>, Pages 73-84, 2010. <b>Please be sure to download directly from SpringerLink, as not all PDFs you'll find online include the complete text.</b>  
*** Discussion leader: PLEASESIGNUP
+
*** Discussion leader: Nikitas Tampakis
*** Response link: TODO
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*** Response link: https://docs.google.com/spreadsheet/viewform?formkey=dEtTNDFKOEpUYnpfeU9GaXoxa19Fc3c6MA
 
** Reading 2: N. Rasamimanana, E. Flety, and F. Bevilacqua. [http://www.springerlink.com/content/h710741265086351/ Gesture analysis of violin bow strokes]. In Proceedings of Gesture Workshop 2005 (GW05), pages 145–155, 2005.
 
** Reading 2: N. Rasamimanana, E. Flety, and F. Bevilacqua. [http://www.springerlink.com/content/h710741265086351/ Gesture analysis of violin bow strokes]. In Proceedings of Gesture Workshop 2005 (GW05), pages 145–155, 2005.
*** Discussion leader: PLEASESIGNUP
+
*** Response link: https://docs.google.com/spreadsheet/viewform?formkey=dHJxZFBaNGptMXVGV1VUVnRxelBEcGc6MA
*** Response link: TODO
 
 
*** Discussion leader: Alejandro Van Zandt-Escobar
 
*** Discussion leader: Alejandro Van Zandt-Escobar
 
* 18 October: Composing the instrument; alternative views of interaction  
 
* 18 October: Composing the instrument; alternative views of interaction  
** System/Work of the day: PLEASESIGNUP
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** System/Work of the day: Avneesh Sarwate
** Reading 1: TODO
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** Reading 1: Fiebrink, R., D. Trueman, C. Britt, M. Nagai, K. Kaczmarek, M. Early, M.R. Daniel, A. Hege, and P. R. Cook. 2010. [http://www.cs.princeton.edu/~fiebrink/publications/Fiebrink_etal_ICMC2010.pdf “Toward understanding human-computer interactions in composing the instrument.”] Proceedings of the International Computer Music Conference (ICMC).
 
*** Discussion leader: Jennifer Guo
 
*** Discussion leader: Jennifer Guo
*** Response link: TODO
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*** Response link: https://docs.google.com/spreadsheet/viewform?formkey=dFd5LWlWSjVVWTZPaTVaVWNUR3lkY3c6MA
** Reading 2: TODO
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** Reading 2: J. Drummond. 2009. [http://www.sfu.ca/~eigenfel/Drummond-Understanind%20Interactive%20Systems.pdf Understanding interactive systems.] <i>Organised Sound</i>, 14(2):124–133.
*** Discussion leader: PLEASESIGNUP
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*** Discussion leader: Sasha Koruga
*** Response link: TODO
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*** Response link: https://docs.google.com/spreadsheet/viewform?formkey=dGt5X01xUlpacjJGdVVZck1qYkhENVE6MA
 
* 23 October: State-of-the-art DMIs
 
* 23 October: State-of-the-art DMIs
** System/Work of the day: PLEASESIGNUP
+
** System/Work of the day: Jennifer Guo
 
** <b>Assignment 5 due</b> (see above)
 
** <b>Assignment 5 due</b> (see above)
** Readings: <b>Please read the abstracts of ALL the following papers, then pick two of the papers to read.</b> Submit responses for the two papers [http://www.google.com using this form TODO].
+
** Readings: <b>Please read the abstracts of ALL the following papers, then pick two of the papers to read.</b> Submit responses for the two papers [https://docs.google.com/spreadsheet/viewform?formkey=dFp2eWlQeVJxMUdEX3lNZFZLOUp3SlE6MA using this form].
 
*** 1. Vamvakousis, Z. and R. Ramirez. 2012. [http://www.eecs.umich.edu/nime2012/Proceedings/papers/215_Final_Manuscript.pdf Temporal Control In the EyeHarp Gaze-Controlled Musical Interface]. <i>Proceedings of the International Conference on New Interfaces for Musical Expression (NIME)</i>. (This is an eye-controlled instrument, usable by people with motion impairments/paralysis. Please check out the video at http://www.youtube.com/watch?v=XyU8FyB0nZ8)
 
*** 1. Vamvakousis, Z. and R. Ramirez. 2012. [http://www.eecs.umich.edu/nime2012/Proceedings/papers/215_Final_Manuscript.pdf Temporal Control In the EyeHarp Gaze-Controlled Musical Interface]. <i>Proceedings of the International Conference on New Interfaces for Musical Expression (NIME)</i>. (This is an eye-controlled instrument, usable by people with motion impairments/paralysis. Please check out the video at http://www.youtube.com/watch?v=XyU8FyB0nZ8)
 
*** 2. Wang, J.,  N. d'Alessandro,  S. Fels, and R. Pritchard. 2012. [http://www.eecs.umich.edu/nime2012/Proceedings/papers/291_Final_Manuscript.pdf Investigation of Gesture Controlled Articulatory Vocal Synthesizer using a Bio-Mechanical Mapping Layer]. <i>Proceedings of the International Conference on New Interfaces for Musical Expression (NIME)</i>. (This is pretty much what it sounds like. Please check out the video at http://www.youtube.com/watch?v=p2pAKMTNuWE)
 
*** 2. Wang, J.,  N. d'Alessandro,  S. Fels, and R. Pritchard. 2012. [http://www.eecs.umich.edu/nime2012/Proceedings/papers/291_Final_Manuscript.pdf Investigation of Gesture Controlled Articulatory Vocal Synthesizer using a Bio-Mechanical Mapping Layer]. <i>Proceedings of the International Conference on New Interfaces for Musical Expression (NIME)</i>. (This is pretty much what it sounds like. Please check out the video at http://www.youtube.com/watch?v=p2pAKMTNuWE)
*** 3. Mitchell, T., S. Madgwick, and I. Heap. 2012. [http://marcodonnarumma.com/publications/marco-donnarumma_xth-sense_a-study-of-muscle-sounds_ICMC2011.pdf Musical Interaction with Hand Posture and Orientation: A Toolbox of Gestural Control Mechanisms]. <i>Proceedings of the International Conference on New Interfaces for Musical Expression (NIME)</i>. (This is a technical paper on the glove controller used by musician Imogen Heap, and created in collaboration between Heap and some music technology academics. See http://www.wired.co.uk/magazine/archive/2011/10/how-to/how-to-make-music-with-gestures for one appearance in the popular press.)
+
*** 3. Mitchell, T., S. Madgwick, and I. Heap. 2012. [http://www.eecs.umich.edu/nime2012/Proceedings/papers/272_Final_Manuscript.pdf Musical Interaction with Hand Posture and Orientation: A Toolbox of Gestural Control Mechanisms]. <i>Proceedings of the International Conference on New Interfaces for Musical Expression (NIME)</i>. (This is a technical paper on the glove controller used by musician Imogen Heap, and created in collaboration between Heap and some music technology academics. See http://www.wired.co.uk/magazine/archive/2011/10/how-to/how-to-make-music-with-gestures for one appearance in the popular press.)
 
*** 4. Gillian, N. and J. Paradiso. 2012. [http://www.eecs.umich.edu/nime2012/Proceedings/papers/248_Final_Manuscript.pdf Digito: A Fine-Grain Gesturally Controlled Virtual Musical Instrument]. <i>Proceedings of the International Conference on New Interfaces for Musical Expression (NIME)</i> (This project uses the Kinect depth sensor not for skeleton tracking, but for fine-grained hand gestures. Please check out video at https://vimeo.com/43068363)
 
*** 4. Gillian, N. and J. Paradiso. 2012. [http://www.eecs.umich.edu/nime2012/Proceedings/papers/248_Final_Manuscript.pdf Digito: A Fine-Grain Gesturally Controlled Virtual Musical Instrument]. <i>Proceedings of the International Conference on New Interfaces for Musical Expression (NIME)</i> (This project uses the Kinect depth sensor not for skeleton tracking, but for fine-grained hand gestures. Please check out video at https://vimeo.com/43068363)
 
*** 5. Smith, B. and G. Garnet, [http://www.eecs.umich.edu/nime2012/Proceedings/papers/68_Final_Manuscript.pdf Unsupervised Play: Machine Learning Toolkit for Max]. <i>Proceedings of the International Conference on New Interfaces for Musical Expression (NIME)</i>. (This paper provides a toolkit for unsupervised machine learning in music. The algorithms are complementary to those discussed previously in class. You can download it and view examples online at http://ben.musicsmiths.us/ml.phtml.)
 
*** 5. Smith, B. and G. Garnet, [http://www.eecs.umich.edu/nime2012/Proceedings/papers/68_Final_Manuscript.pdf Unsupervised Play: Machine Learning Toolkit for Max]. <i>Proceedings of the International Conference on New Interfaces for Musical Expression (NIME)</i>. (This paper provides a toolkit for unsupervised machine learning in music. The algorithms are complementary to those discussed previously in class. You can download it and view examples online at http://ben.musicsmiths.us/ml.phtml.)
 
*** 6. Donnarumma, M. 2011. [http://marcodonnarumma.com/publications/marco-donnarumma_xth-sense_a-study-of-muscle-sounds_ICMC2011.pdf Xth Sense: a study of muscle sounds for an experimental paradigm of musical performance.] Proceedings of the International Computer Music Conference (ICMC). (Xth Sense allows the performer to control sound via the <b>sounds of his own muscles</b>. This instrument won the 2012 [http://www.gatech.edu/newsroom/release.html?nid=110311 Guthman musical instrument competition] at Georgia Tech. Watch some video [https://vimeo.com/37921373#at=0 here].)
 
*** 6. Donnarumma, M. 2011. [http://marcodonnarumma.com/publications/marco-donnarumma_xth-sense_a-study-of-muscle-sounds_ICMC2011.pdf Xth Sense: a study of muscle sounds for an experimental paradigm of musical performance.] Proceedings of the International Computer Music Conference (ICMC). (Xth Sense allows the performer to control sound via the <b>sounds of his own muscles</b>. This instrument won the 2012 [http://www.gatech.edu/newsroom/release.html?nid=110311 Guthman musical instrument competition] at Georgia Tech. Watch some video [https://vimeo.com/37921373#at=0 here].)
 
* 25 October: Wrap-up on gesturally-controlled instruments, discussion on Assignment 6 and final projects
 
* 25 October: Wrap-up on gesturally-controlled instruments, discussion on Assignment 6 and final projects
** <b> Assignment 6 due</b> (see above, TODO)
+
** <b> Assignment 6 due</b> (see above)
 
* <b> 30 October and 1 November: Fall break</b>
 
* <b> 30 October and 1 November: Fall break</b>
 
== Tentative further schedule ==
 
<b>Schedule from this point on is still tentative!</b>
 
<font color="grey">
 
 
* <b> 4 November: Written project proposals due </b>
 
* <b> 4 November: Written project proposals due </b>
* <b> Week of 5 November: Schedule a 30-minute meeting to discuss your project proposal </b>
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* <b> Week of 5 November: Schedule a 30-minute meeting to discuss your project proposal. [http://tinyurl.com/9dbnjaw Sign up here.] </b>
*6 November: Either live coding or networked performance?
+
*6 November: Score following
** Read:
+
**<b>Today's readings are a bit different-- both are by the same author, but one gives a technical presentation for IEEE and one discusses the problem for an audience of musicians & music technologists.</b> Please read the IEEE paper to get as much of an understanding of the technical detail as possible, and read the SMC paper to get a feel for the argument the author is making to that audience. (i.e., spend more time on reading 1). Respond to both using the same response link.
** Read:
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** Reading 1: A. Cont. [http://hal.archives-ouvertes.fr/docs/00/47/97/37/PDF/PAMI5.pdf A coupled duration-focused architecture for real-time music-to-score alignment.] <i>IEEE Transactions on Pattern Analysis and Machine Intelligence</i> 32(6):974–987, 2010.
 +
** Reading 2: A. Cont. [http://hal.inria.fr/docs/00/69/25/75/PDF/ArshiaCont_SMC2011_1.pdf On the creative use of score following and its impact on research]. In <i>Proceedings of SMC 2011: 8th Sound and Music Computing conference, Padova, Italy</i>, July 2011.
 
** Discussion leader: Reid Oda
 
** Discussion leader: Reid Oda
** Supplemental material:
+
** Response link: https://docs.google.com/spreadsheet/viewform?formkey=dGtiR2VvRFJkR2djcjFvMl8yczZCVmc6MA
** System/Work of the day:
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** System/Work of the day: PLEASESIGNUP
*8 November:  
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*8 November: Improvisatory systems
** Read:
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** Reading 1 (of 1): F. Pachet. [http://www.tandfonline.com/doi/abs/10.1076/jnmr.32.3.333.16861 The continuator: Musical interaction with style.] <i>Journal of New Music Research</i>, 32(3):333– 341, 2003. <b>Please be sure to download the JNMR version of the paper and not the earlier conference version!</b>
** Read:
+
*** Discussion leader: Edward Zhang
** Discussion leader:
+
*** Response link: https://docs.google.com/spreadsheet/viewform?formkey=dDBVbUcyY2JlcXJ1Y2xXOGlUMTAxeVE6MA
** Supplemental material:
+
** Possible informal class discussion of projects, if time allows.
** System/Work of the day:
+
*13 November: Laptop orchestras
*13 November:  
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** Reading 1: D. Trueman. [http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=1185276 Why a laptop orchestra?] <i>Organised Sound</i>, 12(2):171–179, 2007.
** Read:
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*** Response link: https://docs.google.com/spreadsheet/viewform?formkey=dDAtVE5wZHJZZTEzUzRxb3pjcWxjY3c6MA
** Read:
+
*** Discussion leader: Nikitas Tampakis
** Discussion leader:
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** Reading 2: L. Dahl. [http://www.eecs.umich.edu/nime2012/Proceedings/papers/259_Final_Manuscript.pdf Wicked problems and design considerations in composing for laptop orchestra]. In <i>Proceedings of the International Conference on New Interfaces for Musical Expression (NIME)</i>, 2012.
** Supplemental material:
+
*** Response link: https://docs.google.com/spreadsheet/viewform?formkey=dFUwNTFyS2FfcmpIZFBtb1hkRmFzb2c6MA
** System/Work of the day:
+
*** Discussion leader: Katie Wolf
*15 November: Laptop orchestras
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** System/Work of the day: Jennifer Guo
*** Leaders: ??? (Could be 1-3 people)
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*15 November: Mobile & social music
** Read: Why a laptop orchestra?
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** "Reading" 1: Watch [http://www.youtube.com/watch?v=uHtCAAj8jFI Ge Wang, "Breaking Barriers With Sound," Google Tech Talk, November 2010]. <b>It is recommended that you watch this before reading the paper, since the talk includes some demos of the apps mentioned in the paper.</b>
*** Discussion leader:???
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*** Response: https://docs.google.com/spreadsheet/viewform?formkey=dG9iV0U1dUwxZGExTkFtbUFNcWZNQmc6MA
** Read: Wicked problems for laptop orchestras
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** Reading 2: Hamilton, R., Smith, J., and Wang, G. 2011. [https://ccrma.stanford.edu/groups/mcd/publish/files/2011-lmj-social.pdf "Social Composition: Musical Data Systems for Expressive Mobile Music."] Leonardo Music Journal Vol. 21. pp.57-64.
*** Discussion leader: Zeerak Ahmed
+
*** Response link: https://docs.google.com/spreadsheet/viewform?formkey=dGNZYkxCOXF1eS1yN3E5MFdTck1HVWc6MA
** Supplemental material:
+
*** Discussion leader: Jennifer Guo
** System/Work of the day:
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** System/Work of the day: Joe Tylka
*20 November (May merge with another class or two?): Other collaborative / social systems
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*20 November: Percussion & networked collaboration
** Tutorial: Overview of music production process and tools
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** Reading 1: M. Sarkar and B. Vercoe. 2007. [http://web.media.mit.edu/~mihir/documents/mihir_tablanet_nime2007.pdf Recognition and prediction in a network music performance system for indian percussion.] In <i>Proceedings of the 7th international conference on New interfaces for musical expression (NIME ’07)</i>, pages 317–320.
** Essl?
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*** Response: https://docs.google.com/spreadsheet/viewform?formkey=dDJaVGlhUEZlOGpYbm5laGozSU9WUVE6MA#gid=0
** Networked performance?
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*** Discussion leader: Reid Oda
** Robots?
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** Reading 2:  Derbinsky, N. and Essl, G. 2012. [http://web.eecs.umich.edu/~gessl/georg_papers/NIME12-Drum.pdf “Exploring Reinforcement Learning for Mobile Percussive Collaboration,”] In <i>Proceedings of the International Conference on New Interfaces for Musical Expression (NIME)</i>.
** Smule apps?
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*** Response link: https://docs.google.com/spreadsheet/viewform?formkey=dFREelc3ai1QdXRQU2VGcC1OSVF0ZUE6MA#gid=0
** Collaborative instruments?
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*** Discussion leader: Alejandro Van Zandt-Escobar
** System/Work of the day:
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** System/Work of the day: Avneesh Sarwate
 
* <b> 22 November: Thanksgiving, no class</b>
 
* <b> 22 November: Thanksgiving, no class</b>
*27 November: Music production  
+
 
** Read: Pardo
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* 27 November: No readings to do!
*** Discussion leader: ???
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** Joe Tylka: Tutorial on 3D sound
** Read: Duignan
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** Jeff Snyder, Technical Director of Music at Princeton (not the undergrad), invited guest
 +
*29 November: Music production  
 +
** Reading 1: B. Pardo, D. Little, and D. Gergle. [http://www.eecs.umich.edu/nime2012/Proceedings/papers/74_Final_Manuscript.pdf Towards speeding audio EQ interface building with transfer learning.] In <i>Proceedings of the International Conference on New Interfaces for Musical Expression (NIME)</i>, 2012.
 +
*** Response: https://docs.google.com/spreadsheet/viewform?formkey=dEFSd20tMmYxdFZpY2s3UVV4YlRaOVE6MA#gid=0
 +
*** Discussion leader: Daniel Ryan
 +
** Reading 2: J. Reiss. [http://ieeexplore.ieee.org/stamp/stamp.jsp?tp=&arnumber=6004988 Intelligent systems for mixing multichannel audio]. In <i>Proceedings of the 17th International Conference on Digital Signal Processing (DSP)</i>, July 2011.
 +
*** Response: https://docs.google.com/spreadsheet/viewform?formkey=dGZKc1VseXJ5cXFKQ0sxX2ZvQ1BsRnc6MA#gid=0
 
*** Discussion leader: Joe Tylka
 
*** Discussion leader: Joe Tylka
** System/Work of the day:
+
** System/Work of the day: Danielle Bragg
*29 November: Interaction with music recommendation systems
+
* <b> Week of 3 December: [https://wass.princeton.edu/pages/viewcalendar.page.php?cal_id=1761&view=week&st_dt=2012-11-25&makeapp=1 Schedule a 30-minute meeting to discuss your project progress] </b>
** Read: Kulesza
+
* 4 December: Introduction to Music Information Retrieval
*** Discussion leader: ???
+
** Reading 1: Chapters 3 and 4 from N. Orio. [http://mlsp.cs.cmu.edu/courses/fall2012/lectures/Music_retr_tutorial.pdf Music retrieval: A tutorial and review.] Foundations and Trends in Information Retrieval, 1(1), 2006.
** Read: ???
+
*** Response: https://docs.google.com/spreadsheet/viewform?formkey=dGJ6REN0bFM0RFpleFBZOWdpQzQwRVE6MA
** System/Work of the day:
+
** Reading 2: Please pick any paper from [http://ismir2012.ismir.net/event/programme ISMIR 2012], on a topic of your choosing (except for the papers we're reading on 6 December, below).
* <b> Week of 3 December: Schedule a 30-minute meeting to discuss your project progress </b>
+
*** Response: https://docs.google.com/spreadsheet/viewform?formkey=dDQwTzNESXBvUUNYQmo4MURaMDg5WUE6MA#gid=0
* 4 December: Revisiting interactive systems in music scholarship
+
** Discussion leader: Abu Saparov
** Read: ???
+
** System/Work of the day: Rahulram Sridhar
*** Discussion leader: ???
+
* 6 December: Recent MIR reflection papers
** Supplemental material:
+
** Reading 1: M. Schedl and A. Flexer. [http://ismir2012.ismir.net/event/papers/385-ismir-2012.pdf Putting the user in the center of music information retrieval]. In <i>Proceedings of the International Conference on Music Information Retrieval (ISMIR)</i>, 2012.
** System/Work of the day:
+
*** Discussion leader: Sasha Koruga
* 6 December: "Creativity support tools" in HCI
+
*** Response: https://docs.google.com/spreadsheet/viewform?formkey=dEhBcTh2TTJPMnZPS2l3bGR3WjIzdVE6MA#gid=0
** Read: Shneiderman, Resnick, et al. on creativity support tools
+
** Reading 2: E. J. Humphrey, J. P. Bello, and Y. LeCun. [http://ismir2012.ismir.net/event/papers/403-ismir-2012.pdf Moving beyond feature design: Deep architectures and automatic feature learning in music informatics.] In <i>Proceedings of the International Conference on Music Information Retrieval (ISMIR)</i>, 2012.
*** Discussion leader: Danielle
+
*** Discussion leader: Ohad
** Read: Latulipe et al
+
*** Response: https://docs.google.com/spreadsheet/viewform?formkey=dFRIa1dUUkZTY2tCcVJGTWlEbkY2SEE6MA#gid=0
*** Discussion leader: ???
+
** System/Work of the day: Nikitas Tampakis
** Supplemental material:
+
* 11 December: "Creativity support tools" in HCI
** System/Work of the day:
+
** Reading 1: B. Shneiderman. [http://dl.acm.org/citation.cfm?id=1323689 Creativity support tools: Accelerating discovery and innovation]. <i>Communications of the ACM</i>, 50:20–32, December 2007.
* 11 December: Grab bag topics ???
+
*** Discussion leader: Danielle Bragg
** Read:
+
*** Response: https://docs.google.com/spreadsheet/viewform?formkey=dDNoUGRYYWo1N2JYNjUyUnFDMG92eEE6MA#gid=0
** Read:
+
** Reading 2: E. Carroll, C. Latulipe, R. Fung, and M. Terry. [http://dl.acm.org/citation.cfm?id=1640255 Creativity factor evaluation: Towards a standardized survey metric for creativity support]. In <i>Proceedings of ACM Creativity & Cognition</i>, pages 127–136, 2009.
** Discussion leader:
+
*** Discussion leader: Avneesh Sarwate
** Supplemental material:
+
*** Response: https://docs.google.com/spreadsheet/viewform?formkey=dGw5S19SU0FDN3g5dlNHUnZFSjE1N3c6MA#gid=0
** System/Work of the day:
+
** System/Work of the day: Sasha Koruga - NASA Task Load Index
* 13 December: Grab bag topics ???, wrap-up discussion
+
* 13 December:  
** Read:
+
** Reading: D. Stowell, A.Robertson, N.Bryan-Kinns, and M.D.Plumbley. [http://www.sciencedirect.com/science/article/pii/S107158190900069X Evaluation of live human–computer music-making: Quantitative and qualitative approaches]. <i>International Journal of Human-Computer Studies</i>, 67:960–975, 2009.
** Read:
+
*** Discussion leader: Avneesh Sarwate
** Discussion leader:
+
*** Response: https://docs.google.com/spreadsheet/viewform?formkey=dGVzcnJaa0dWaG5OVG9HWjZQLWRDRWc6MA#gid=0
** Supplemental material:
+
** Wrap-up discussion
** System/Work of the day:
+
* <b>Winter break!</b>
</font>
 
 
* 8 January
 
* 8 January
 
** Final project presentations
 
** Final project presentations

Latest revision as of 17:40, 7 January 2013

Welcome

Welcome to COS 597B, Interactive Music Systems.

The homepage for the course is http://www.cs.princeton.edu/courses/archive/fall12/cos597B/index.php.

We will be using this Wiki to manage the course schedule and readings, and sign up for presentation/discussion leader slots.

Course participants

Add your name here, with link to your webpage if you want:

  • Rebecca Fiebrink, instructor
  • Edward Zhang '13
  • Jeff Snyder '13
  • Avneesh Sarwate '14
  • Joe Tylka, first year grad student
  • Reid Oda, second year grad student
  • Rahulram Sridhar, G1
  • Katie Wolf, second year grad student
  • Sasha Koruga, G2
  • Ohad Fried, first year grad
  • Abu Saparov '13
  • Danielle Bragg, second year grad student
  • Daniel Ryan '13
  • Alejandro Van Zandt-Escobar, CS '14
  • Nikitas Tampakis '14
  • Jennifer Guo, first year grad

Assignments

  • Assignment 1, due 9/20
    • Post on Piazza one example of interactive computer/technology used in live performance (could be a software program, a digital instrument or controller, a performance, ...). Choose something you find exciting or inspiring. Provide a URL and/or citation. Describe how the technology works (at a high level) and how the human(s) interact with the technology. What do you find exciting about it? Any problems you see with it, or criticisms you might offer (including aesthetic or technical concerns)? How does the technology impact or constrain the type of interaction that is possible, and the type of music that is possible or easy to make?
    • (Post publicly on Piazza, use hashtag #assignment1.)
  • Assignment 2, due 10/2
    • Choose two or more synthesis methods to experiment within a music programming environment of your choosing. (Suggestions: Max/MSP, pd (a free Max/MSP-like environment), ChucK, SuperCollider, ???).
    • Post a thoughtful critique of the methods to Piazza, considering the quality of sounds that you can produce with a given method, the ease with which you can control the method, and any other characteristics that might influence someone's choice of whether to use the method in a performance or composition.
    • Use hashtag #assignment2 in your post
    • If you've never used an audio programming environment before and want some tips, just post to Piazza. Feel free to start with existing code & tutorials on the internet. Feel free to share code and programming tips with one another, but do the experimentation and response individually.
  • Assignment 3, due 10/9
    • Create a gesturally-controlled "instrument" that allows you to interactively control sound in real-time. Use an explicit mapping strategy that you program in whatever environment(s) you choose to use (i.e., no machine learning). Reflect on what was easy and hard to do in creating the mapping, what you found rewarding or frustrating about the process, and the process by which you chose the mapping you did. Submit your response on Piazza using #assignment3.
    • Feel free to build on any of your previous assignments. Easy-to-use controllers include the built-in laptop inputs (see http://smelt.cs.princeton.edu), the Wiimote (OSCulator is recommended if you're on a Mac), or joysticks (we have some you can borrow).
    • OpenSoundControl is a good tool for patching together code in different environments, e.g. if you want to use Smelt to capture motion sensor input and send it to pd, or if you want a ChucK program to receive Wiimote messages from OSCulator. Google for OSC examples for the languages you're using, and or post to piazza and get others to share their code with you.
  • Assignment 4, due 10/11
    • Write 1 paragraph (or more if you really want) reflecting on your experiences with the Fauvel seminar last week. Please post to Piazza using #assignment4. Feel free to start a new thread or join an existing thread to chime in on someone else's post. (If you do that, please offer thoughtful commentary and response to their post, not just post something unrelated without starting a new thread.) You can write about any aspect you want, but here are some ideas for starting points:
      • Did the seminar change any of your thinking around what "interactive technology" is (and has been, historically)?
      • Musicology involves ways of studying and reasoning about the world that are quite different from those used in computer science. What might be some of the practices, perspectives, or research goals we have in common? How might computer scientists benefit from understanding more about musicology or other humanities disciplines?
      • Did your ideas about how to digitize Fauvel -- either for scholars or for the public -- change in any surprising and interesting ways following the two seminar sessions led by musicologists?
  • Assignment 5, due 10/23
    • Build at least one gesturally-controlled instrument using Wekinator, with the controller(s) and synthesis method of your choosing.
    • Post a response to Piazza (using #assignment5), including the following: 1) Describe what controller, gestures, learning algorithms), and synthesis method you used. 2) Reflect on what was easy, what was difficult, and how you might improve the software. 3) Also reflect on how the experience of building with Wekinator compared to your previous assignment of building a mapping explicitly using programming.
    • Be sure to read Wekinator instructions to help you get started. Please run the walkthrough ahead of time to verify that the code works for you. We have about a 95% success rate on running on arbitrary machines, but if your machine happens to be Wekinator-unfriendly, we'll want to know ASAP. (Also, note that you may have to turn off firewall & antivirus for OSC to work properly on your machine.)
  • Assignment 6, due 10/25
    • Look through the table of contents for at least one conference proceedings or journal below, for at least the last 2 years. Choose a conference/journal that you expect to be closely related to your final project.
    • Write a response that includes the following: 1) A description of the type of work you generally find published at this venue (and what, if anything, is surprisingly absent). 2) List 10 papers that you find exciting, intriguing, or potentially useful. Provide a 1-sentence description of each one, and say briefly why you've included it. You don't (necessarily) have to read these papers-- it's fine to base your choice on the title and abstract. Post your response on Piazza using #assignment6
    • Possible venues:
      • International Computer Music Conference: A diverse mixture of technical and artistic work, held yearly. Includes just about any topic related to computer music.
      • International Conference on New Interfaces for Musical Expression (NIME): NIME grew out of the ACM CHI (human-computer interaction conference), and it's mostly centered around hardware and software interfaces for performance and composition. However, there is a good mixture of other topics, as well. (Note that 2012 proceedings might not be posted yet at the above link; 2012 is available here.)
      • International Conference on Digital Audio Effects (DAFx): DAFx certainly includes some signal-processing-heavy research on cool-sounding audio effects, but it also includes broader topics like analysis (and synthesis) algorithms, spatial audio, interactive performance issues, audio perception, and others.
      • Computer Music Journal: A journal with very diverse content, spanning both technical and artistic considerations in computer music. Breadth is similar to ICMC. Sometimes there are special issues on particular topics-- see the website if any special issues appeal to you!
      • Organised Sound. Another interdisciplinary journal, can be more focused on musical issues compared to technical issues, but still includes a wide range of topics. Same as CMJ with respect to special issues.
      • [www.ismir.net/all-papers.html International Conference on Music Information Retrieval (ISMIR)]: Includes not just music "information retrieval," but music informatives more generally. Lots on audio analysis, most (but not all) of it not targeted at performance. The interactive aspects of systems are not usually explicitly considered, but there are definite exceptions. Lots of cool machine learning work here.
      • International Conference on Auditory Display (ICAD): A conference not focused on music, per se, but on sonification in many forms. There is considerable attention to human perception of audio, as well as focus on contexts in which sonification is useful.
      • Sound and Music Computing Conference: Another international conference with a very broad focus on many issues related to sound, music, and computing. Lots of interesting stuff here. (Note that SMC offers a "summer school" session before each conference, targeted at students in the field-- something to consider!)
      • International Conference on Computer Music Modeling and Retrieval: A conference that is maybe not quite as broad as ICMC, focused on modeling and retrieval. Includes music emotion analysis, spatial audio, synthesis, computer models of perception and cognition, music information retrieval, computational musicology, others. (You'll have to google for each year individually to find proceedings by year.)
      • If there is another venue you think would be appropriate to add, just say so (on piazza or in class).
  • Written final project proposals due November 4. More info will be posted soon & discussed in class.
  • You will be scheduling a 30-minute meeting to discuss your project proposal for the week of November 5.

Schedule

Tutorial topics

  • Possible topic overviews:
    • Programming tools (Max/MSP, ChucK, SuperCollider, ?)
    • Music production / studio tools & practices (e.g., Logic demo; overview of editing, mixing, mastering processes)
    • BCIs & biosignals for music
    • ML tools (e.g., Marsyas, Wekinator, Gesture Follower)
    • Sound synthesis methods (e.g., additive, wavetable, waveshaping?, subtractive?, physical modeling, FM, granular) (high-level overview)
    • Summarize the state-of-the-art regarding gesture analysis for conducting analysis, dance (e.g., Laban analysis), or ancillary gestures of instrumentalists.
    • Kinect basics (how it works, how to program for it)
    • Basic real-time audio processing methods (not synthesis) (e.g., vocoders, Autotune, other live effects) ?
    • Summarize state-of-the-art regarding audio analysis of some sort (e.g., onset detection, beat tracking, pitch tracking)
    • Summarize state-of-the-art regarding MIR topics (e.g., recommendation, tagging, playlist generation, collection visualization)
  • Possible technical overviews:
    • Digital audio (representation of audio in a computer, sampling & quantizing, Nyquist's theorem)
    • Audio feature extraction
    • Machine learning topics: classification, neural networks, graphical models
    • HMMs, DTW
    •  ??

Possible "cool systems" to highlight

  • Reactable
  • Theremin
  • Ondes Martenot
  • The Hands
  • George Lewis' Voyager
  • Monome
  • The Continuator
  •  ???

General Research Resources

Resources for Topics Discussed in Class