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------ques of Volume 09 Volume 09. Autumn 2014 • on the web 2014 • Autumn 09. Volume Hong Kong’s wuxia films while working at the grungiest rehearsal grungiest the at working while films wuxia Kong’s Hong Adelaide and has up just north of studio in Melbourne. He grew By and Bit Doll Baby bass in bands such as Scissor Pretty, played Bats. and administrator of The Ultimate Gig Guide, and has workedeven) and administrator of The Ultimate Gig Guide, the award winning bonzaon various cultural databases including Dyna with (mainly years 19 bands for in played has Alex database. mo) and at major music festivals in Melbourne. in with a primary interest professional, development is a software the design, development and management of business applications. He has designed high end for several tier one compa data solutions not over the last 25 years. When he’s nies in Australia and abroad hitting the keys he’s cranking out blues riffs on a Les Paul and a his own music. He also writes and records Fender Twin. a thesis analysing the editing techni Peter Gravestock wrote Memory, Imagination and Invention (CMII) and in 2013Memory, was rec most innovative academics. ognised as one of Australia’s specialising in the di- researcher Alwyn Davidson is an early career Alwyn’s at Deakin University. geovisualisation and gital humanities the data, humanities of include the visualisation interests research cultur of analysis the and techniques, spatial and GIS of application al datasets. film (a Collection Reseach AFI the at librarian a is Gionfriddo Alex library) within the School of Media and Communi and tv research Alex is the co founder (with Deb Verho cation at RMIT University. Deb Verhoeven is Professor and Chair of Media and Communication is Professor Deb Verhoeven for of the Centre She is the Deputy Director at Deakin University.
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“Songification” and Live Music Data and Live Music “Songification” Turning Gigabytes into Gigs Gigabytes into Turning Dr Peter Gravestock RMIT University James Verhoeven James Verhoeven Alex Gionfriddo RMIT University Dr Alwyn Davidson Deakin University Deakin University Professor Deb Verhoeven Professor
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Alex Gionfriddo James Verhoeven Dr Alwyn Davidson Dr Alwyn Dr Peter Gravestock Volume 09 Professor Deb Verhoeven Deb Professor Turning Gigabytes into Gigs Gigabytes Turning Billy Thorpe (James, 1969) “A band is as good as it sounds “A whether they play at Woy Woy or the Fillmore.” Woy whether they play at Woy Taking the music industry as a case study, this paper explores this paper explores study, the music industry as a case Taking underutilized and untested in data exploration and interpretation. and untested in data exploration and interpretation. underutilized One technique for data analysis that does exploit auditory percep tion is sonification; “the transformation ofrelations data into per signal for the purposes of facilitatingacoustic in an ceived relations This (Kramer et al., 1999, p. 4). communication or interpretation” to better understand of a pilot project the results paper presents industry creative data the through extension creative of sonifica presenting music industry data astion; musicspecifically, to musi Introduction ways can advance the under data in creative Choosing to represent standing of complex behaviours and ideas. Most data exploration the forms of ta heavily on visual tools in relies and representation visualisations. compelling and intricate and maps, graphs, bles, for determining pat support strong provide Whilst visualizations has been comparatively terns in data, auditory pattern recognition how data about historical live music gigs can be analysed, extend analysed, be can gigs music live historical about data how new insights. Using a unique process create to ed and re-presented data auditory enhanced how demonstrate we ‘songification’ called intuition. The case study a medium for aural design can provide also illustrates the benefits of an expanded and inclusive view of and communication, method and in which computation research; question of the larger to explore media, in combination enable us analyse, represent, to produce, how we can employ technologies deliver and exchange knowledge. Abstract as is represented challenging to understand when it Complex data is in a table. How even when it is structured written communication our under ways can aid data in creative choosing to represent ever, creative the ideas and patterns. In this regard, standing of complex industries have a deal great to offer data-intensivescholarly disci theyet data, interpret to used often not is example, for Music, plines. and anal to the representation of music lends itself nature rhythmic ysis of temporal data. quarter
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Alex Gionfriddo James Verhoeven Dr Alwyn Davidson Dr Alwyn Dr Peter Gravestock Volume 09 Professor Deb Verhoeven Deb Professor Turning Gigabytes into Gigs Gigabytes Turning Its capacity to involve 2-3 dimensions of data typical of visuali Its capacity to involve 2-3 dimensions inchanges and patterns temporal represent better to capacity Its adding another Its ability to be combined with visualisations, sations data another task busy at dimension when the eyes are There There are however a number of different types and techniques information about a dataset or subset of relevant information about information of relevant or subset dataset a information about by what is most generally meant a dataset and can be considered the term ‘sonification’. Data exploration sonification techniques in clude parameter mapping (for examples see Flowers and Hauer, Stock and Hermann, 2011; 1992; 1993; 1995; Flowers, 2005; Grond 2005), Smith and Walker, 2011; and Berger, man et al., 2005; Grond and model-based sonification (for examples see Hermann, 2011; 1999; 2002; 2004; Bovermann et al., 2006). Hermann and Ritter, the relatively recent field of sonification studies is dominated by the by dominated is studies sonification of field recent relatively the disciplines science-based in techniques sonification of application and technical acoustic sub along with analysis of the psychological tleties involved in the procedure. broken up be can sonification of functions The sonification. in used sta categories: (1) alarms, alerts, and warnings; (2) in to four broad (4) and monitoring messages; (3) data exploration; and tus, process, This paper is par and Nees, 2011). art and entertainment (Walker ticularly concerned with (3) data exploration and (4) art and enter intended to communicate tainment. Data exploration functions are • • • su a considered often is sonification that notes 18) p. (2000, Walker techniques have failed, e.g. for perior method when visualization assuch discoveries for or counter) Geiger (e.g. monitoring radiation context its not surprising that the “quantum whistle”. Given this cians in order to improve analysis of the history of live music per analysis of the history of live music to improve cians in order Australia. in Melbourne, formances (‘gigs’) Sonification Sonification is typically associated with scientific data and specifi Re results. scientific of quantities large of interpretation the in cally as the basis for data analysis in a have adopted sound searchers some of which include: number of cases for various reasons, quarter
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Alex Gionfriddo James Verhoeven Dr Alwyn Davidson Dr Alwyn Dr Peter Gravestock Volume 09 Professor Deb Verhoeven Deb Professor Turning Gigabytes into Gigs Gigabytes Turning This gap, between the evidentiary demands of science and the of science This gap, between the evidentiary demands One study that has pushed their creative work into data explora data work into creative has pushed their One study that The fourth listed function of sonification, art and entertainment, where in the gap between the function of data exploration (3) and in the gap between the function of data exploration where art and entertainment (4). affective aspirations of art and entertainment, is not as wide as it might first Increasingly some appear. science based disciplines are ways the – work their of aspects ‘artistic’ the understand to required in which certain design decisions affect the success of data visuali consid zations for example, or how computer scientists frequently feelings of 500 users. Twitter There is also a strong use of sonifica such as climate occurrences, tion applied to data depicting natural and solar 2011), (Traubeck, growth 2013), tree change (Crawford, is not examples these creative of focus 2009). The wind (Alexander, sonification techniques. on creative on data exploration, but more creat 2012), Leroi, and (MacCallum Tunes” “Darwin tion has been ing musical loops that depict different stages of evolution. This has placed an emphasis on the musicality of the loops by project sound that is pleasing critics to create input from crowdsourcing has placed itself some this research As a result, and interesting. creative adaptations of musicalcreative sonificationcomposition where is not the primary focus. “The Quotidian Record” by Brian House (2012) sonifies the location-tracking data of the artist’s movements patterns and daily rhythms highlighting the habitual for a full year, patterns found in music and rhythms of his travels. The inherent are also explored by Paul (2012), through the “Sonificationof Eve of distance to create the measure ryday Things”, using lasers and (2012) togeth Jones and Gregson audio loops for everyday objects. a continuous piece of music er with Britten Sinfonia have created usedexcerpts sound of mashup creative a activity, Twitter on based thoughts, and of conversations, the overall types to communicate primarily uses datasets as the basis for musical compositions. This as the basis for musical compositions. primarily uses datasets approach often takes the sounds that result from a sonification processinstru traditional musical with more and combines them Quinnof works the include datasets by driven Compositions ments. to the mind lis performances such as “Listening (2001, 2003), and tening: Concert of sonfication at the Sydney Opera House” (2004) by ear” (2006) (as cited in Walker and “Global music – The world of excellent have been a number There pp. 5-6). and Nees, 2011, quarter
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Alex Gionfriddo James Verhoeven Dr Alwyn Davidson Dr Alwyn Dr Peter Gravestock Volume 09 Professor Deb Verhoeven Deb Professor Turning Gigabytes into Gigs Gigabytes Turning Several challenges have arisen from this approach to represent this approach Several challenges have arisen from TUGG was specifically developed by creative industry research industry creative by developed specifically was TUGG socio-spatial location of music performances (Bennett, 1997). Crea tive industry analysts can perform flexible queries on the TUGG in both google map and list form, results data, view their search for or download data in a CSV format generate printable reports statistical analysis. queries. For example, the shifting of TUGG research ing the results view in to difficult is venues music between distance travel of scale TUGG charts the Australian music industry at the level of indi the level of at music industry Australian the charts TUGG vidual The existing data in the the mid-1960s. performances from of Mel city and surrounds primarily to the TUGG dataset relates al by performed gigs 11,000 over consists of and currently bourne city the greater most 2,000 bands/performers in 816 venues across gig guides from sourced This data has been predominantly area. pe this during magazine music popular influential an in published riod (Kent, 2002). ers to better understand the flow of live music culture across his the studying the itineraries of bands and torical periods, through members of the creative industries themselves. members of the creative ‘G’ - Songification Give me a Songification is the extension of sonification enhanced through au place of sound to communicateditory data design; using music in we music, into ‘beeps’ auditory transforming By data. interpret and easier to listen to and will ex a data format that is intend to create the data, leading to interpreting tend the time listeners will spend better understanding and analysis. The technique of songification Ultimate Gig Guide (TUGG) database work with The from arose and Gionfriddo, 2013). Verhoeven application (http://tugg.me, see er the ‘aesthetics’ of their code and the way physicists describe the ‘beauty’ of certain theoretical formulations. there Similarly, has been a significant computational turn in the humanities and crea is under changed the way research profoundly tive arts which has The taken technique 2011). in of these Songifica disciplines (Berry, this conjunction between in this paper also explores tion proposed side of sonification through data creative exploration and the more in audio analysis. This technique has extending musical presence the additional effect of opening up avenues for data exploration to quarter
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Alex Gionfriddo James Verhoeven Dr Alwyn Davidson Dr Alwyn Dr Peter Gravestock Volume 09 Professor Deb Verhoeven Deb Professor Turning Gigabytes into Gigs Gigabytes Turning Bands often played gigs around various inner cityinner various around gigs played often Bands we undertook a process of data sonification in which we The benefit of songification inthis sense is ramifying. By “think To better represent these variations of spatial scale and temporal these better represent To We are consciously not just representing data, we are representing representing data, we are consciously not just representing are We and intensity of gigs in a city and its vi the movement, longevity, turning live music data into music. are We cinity. tosense most the make that formats in research our through” ing op an have studying we are we industries and the communities portunity to engage their them on terms. The typical division be non-academ and Analysis) (generating academics-as-agents tween opportunity for non-professional research participation, in this case participation, research opportunity for non-professional fans themselves. by engaging musicians and music Music about Music for Musicians Songification raises the music question based of whether creating on music industry data might also engage the live music communi ties themselves. Our intention is to turn the data into something repre and gives tribute to the phenomena we are that resembles states, “If I am listening to radiation As MC Zirconium senting. distant parts of the universe, I want to feel horri emanating from fied by the scientific majesty of it all” (as quoted in Angliss, 2011). sequence Al frequencies. sound as gigs music live of sequence a represented of this pro perspective, the results analytical a purely though, from expe listening as a successful less were they promising, were cedure any advantage gained compromised extent that they to the rience – clear we needed to enhance the design of It was the approach. from aural in better medium for a provide to order in the auditory data into music we not only data tuition. By transforming our research and experience for discerning the relations an improved created ‘vernacular’inclusive, an provided also we but data, the in rhythms the google maps. google the to a country locat travelling a much longer distance venues before to difficult it’s cases these In night). one the in (sometimes venue ed city in the the of adjacent movements around see the intricacies a great location without losing as a gig in a rural same map view of the goog nature the static detail. Furthermore, deal of important a of order sequential the ‘see’ to possible neither is it means maps le ‘stagger’temporal the in variations perceive to nor gigs; band’s be tween events. quarter
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Max MerrittMax Alex Gionfriddo James Verhoeven Dr Alwyn Davidson Dr Alwyn Dr Peter Gravestock Volume 09 Professor Deb Verhoeven Deb Professor Turning Gigabytes into Gigs Gigabytes Turning Billy Thorpe and the Aztecs , and ) and their associated attributes needed for analy for needed attributes associated their and ) Doug Parkinson , The distance to each of the gig venues from the Melbourne CBDMelbourne the from venues gig distance to each of the The (Walker and Nees, 2011, pp. 6-7) through event-based data. pp. 6-7) through and Nees, 2011, (Walker was figure This API. Maps Google a using metres in calculated was (Hz). The range of this data is from then translated into frequency – the later which is impossible to 151413 metres/Hz 584 metres/Hz we need to take this range of data and trans As a result, to register. wethat one – range narrower a to (pro-rated) proportionally it late this of upper limits lower and The easily. recognise hear and can music by looking at distance as variation of pitch from a central note of pitch from music by looking at distance as variation con sequence of music. Three and change over time as the temporal pat and styles music different with artists Australian temporaneous sonification: for selected were attendance venue of terns and the Meteors example (for band specific a for search were gigs all TUGG Meteors and the ritt sis (band name, date, and venue location in latitude and longitude) were exported. The following approach to sonification used in the method is parameter mapping, defined asrepresenting “changes some data dimension with changes in an acoustic dimension” in temporal relationship of exploration followed by analysis and then of exploration temporal relationship genuine engagement with the belies a lack of the delivery of results communities under study. Method individual exploring around centred was sonification of process The of spatially bands itineraries which changed and in the frequency was the point of interest performance over time. One particular of gigs of the CBD, or the spread movement of artists in and out the (from distance of variable The beyond. and suburb, city, the from suited towas particularly (itineraries) time over and changes CBD) ic communities as the objects of research (generating Content) canContent) (generating the objects of research communities as ic crea humanities and in the particularly researchers, be limiting for tive industries. Songification ensures that our music industryre academics might en acknowledges that although explicitly search their thinking,for developing and communicating joy written texts this case au to think visually or in might prefer other communities multi-modal ap are the outset that there from recognizing By rally. that it is possible to create to knowledge we also recognize proaches design, in which the typical opportunities for research recursive quarter
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kvarter akademisk ------11 Billy track
Alex Gionfriddo File 1: ‘Max Mer ‘Max 1: File James Verhoeven Dr Alwyn Davidson Dr Alwyn Dr Peter Gravestock Volume 09 Professor Deb Verhoeven Deb Professor Turning Gigabytes into Gigs Gigabytes Turning File 2: Max Merritt Lead Riff MP3. Max Merritt and the Meteors ]. To ].songify To the it easier todata and make was more difficult as there was just one tab available. tab one just was there as difficult more was ] this guitar melody is ‘easy listening’ compared to the inhar The process to create the backing tracks involved firstly identify The length or duration of each note was set to the number of daysThe length or duration of each note To translate these frequencies to notes that can be recognised, the to notes that can be recognised, frequencies translate these To was obtained by going on to a popular guitar tabbing website and for the band. The four that had been tabbed obtaining all the chords then used for the track and played in the were most common chords for of what was most musically pleasing. The backing track order Doug Parkinson was used to determine the playing style of the YouTube Therefore, The backing track for structures. band and the common chord from from File 2: Max Merritt Lead Riff, [ Listen monious ‘beeps’ produced by Tothe augmentsonification method. full band sound, backing tracks were a this melody and to create performers. written in the style of the respective ing the average beat for each artist. This was done by looking at of the artist and tracking the beat to a metronome YouTube tracks on – the average beat rate could then be calculated. The method for varied depending on the band. For structure the chord producing for the example, the backing chords tion. The resultant inharmonious ‘beeps’ defeated however, the [ shared. easily be could data sonified the that idea Listen MP3. Sonification ritt of the band provenance patterns and honour the musical interpret was needed. that generated the data further enhancement the next gig played by the band. There gig and between the current the longer the note. When all the bigger the delay between gigs, fore, a melody that succession we produced played in notes/gigs were as a was lead represented guitar riff in keeping with the period and As you can hear under study. band attributes of the performances range were chosen as C3 (130.81 Hz) to B7 (3951.07 Hz). In musical chosen as C3 (130.81 Hz) to B7 (3951.07 range were middle C. middle C to B, 4 octaves above C below terms this is from for each frequency. on the 12 note scale was chosen note nearest the C major note in transposed to the nearest This was then further notes which repre was an array of C major resulted What scale. When the the CBD. that the venue was from sented the distance notes/gigs were played in the sequence in which specific bands sonifica gigs band following the produced we venues the at played quarter
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], and Max Merritt Max ], Alex Gionfriddo ]. These tracks James Verhoeven Dr Alwyn Davidson Dr Alwyn Dr Peter Gravestock Volume 09 Professor Deb Verhoeven Deb Professor Turning Gigabytes into Gigs Gigabytes Turning was based on a basic 12 bar blues riff as per the per as riff blues bar 12 basic a on based was File 3: Max Merritt Songification MP3. Listen MP3. Songification Merritt Max 3: File File 4: Billy Thorpe Songification MP3. Listen [ [ File 5 Doug Parkinson Songification MP3. Listen MP3. Songification Parkinson Doug 5 File [ We limited our songificationWe to the use of pitch (the perceptual To date, there have been three pieces of music written and per pieces of music have been three date, there To resented by higher pitches (a “positive” mapping polarity)? Are Are polarity)? mapping “positive” (a higher pitches by resented patterns in the data? represent sensible ways to more other, there Is the scaling of pitch in keeping with the changes conveyed? Ex the understanding we intend to explore tending our work further, evoked of sound metaphors (the expectations and feelings that are by use of sound) particularly a particular as they apply in and dif fer between specific contemporary music scenes. times. This is advantageous over pitched ‘beeps’ simply through listen to music over inharmoni the willingness of the analyst to of the data interpretations attentive in more resulting sounds, ous non-academic music spe and wider opportunities for engaging cialists in the research. and note length to display patterns in dimension of frequency) itineraries. Subsequent investigations could use other sound di also be could mensions (e.g. loudness, tempo). Further research in For example, applied to a number of key aspects of this project. distances be rep to test sound parameters should greater order search team in order to emphasise the significance of serendipity in serendipity of significance the emphasise to order in team search live music events and their songification. Findings The of process songification led to innovative methods for study labour. and creative industries ing and understanding the creative The shift from sonification to the more musical songification and for a better product shift has created in this involved the creativity and understanding. The ensuing data exploration, interpretation, itineraries encourage the listener to of band musical renditions multiple spend time with the data by playing tracks through the Thorpe and the Aztecs his playlist. average song on during bands the for songification of process this using live formed to 1972): Melbourne (1965 in music live the height of and the Meteors and the Aztecs Parkinson an audience by the re before have also been performed on stage quarter
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[Accessed Alex Gionfriddo Popular Music [online] Avail James Verhoeven Dr Alwyn Davidson Dr Alwyn Dr Peter Gravestock Volume 09 Professor Deb Verhoeven Deb Professor Turning Gigabytes into Gigs Gigabytes Turning , 12, pp. 1-22. https://www.youtube.com/ Culture Machine Culture Solar Wind Sonification – Scientifically Accu Euler’s Euler’s Number and the price of fish. [online] Available at: Available [online] http://madartlab.com/2011/03/15/eulernumberfish/ rate Music! watch?feature=player_embedded&v=2b9ykhYzw6k 2014]. 26 March 16, 1, pp. 97-108. Digital Humanities. scanning sonification model, inT., Stockman, (ed.), on Auditory Display (ICAD 2006) of the International Conference Auditory Dis London, UK, 2006. International Community for play (ICAD), Department of Computer Science, Queen Mary, University of London, pp. 77-82. able at: 2014]. [Accessed 26 March for the consumption of popular music. resource As creative industry researchers we need to use all the resources need to use all the resources we industry researchers As creative References Alexander, R., 2009. Angliss, S., 2011. scene as a A., 1997. “Going down the pub!”: The pub rock Bennett, researchers we might even more specifically ask, what properties of properties what ask, specifically more even might we researchers listening? How might the audi space can be experienced through enhance geographic analysis? of spatial data tory representation What might the practice of live music offer in terms of a cognitive contemplation and enjoy artistic enterprise rather than merely of auditory how might the representation And conversely, ment? In what ways can the artistic extension? data be enhanced through human capability and compre use of auditory technologies extend that least, very the at suggests songification of process The hension? it ain’t all over ‘til the big data sings. Conclusion the With advent of ‘big data’, the impetus for to researchers focus in data, in patterns of determination the on efforts investigative their order to make ‘sense’ of large, multidimensional information, has vis on relies however, exploration data most date, To ramified. only of our auditoryto exploit the evident advantages ual tools; failing those with sight impairment.senses, and necessarily excluding As music industry perceptual. at our disposal; technical, social and Berry, D. M., 2011. The Computational Turn: Thinking About The Thinking Turn: The Computational D. M., 2011. Berry, Bovermann, T., Hermann, T., and Ritter, H., 2006. data Tangible quarter
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kvarter akademisk ------In Hu 14 , 24, 2, . Logos
Advances in Advances in Proceedings of Proceedings Alex Gionfriddo The Sonification . Avail [online] James Verhoeven Journal on Multi Dr Alwyn Davidson Dr Alwyn Dr Peter Gravestock Volume 09 , Baden-Baden, Ger Professor Deb Verhoeven Deb Professor Behavior Research Meth Behavior Research Turning Gigabytes into Gigs Gigabytes Turning [Accessed 26 March 2014]. [Accessed 26 March The Sonification Handbook Sonification The , 25, 2, pp. 242–249. The real thing?: The rock music industry and music thing?: The rock real The , 5, 3, pp. 87–95. , Paris, France, June 24-27 2008. Proceedings of the 14th International Conference of the 14th International Conference Proceedings A Song of Our Warming Planet of Our Warming Song A Ireland, Limerick, July 6–9 2005. Limerick, July Ireland, , 37, 3, pp. 553–569. . Logos Publishing House, Berlin, Germany. . Logos Publishing House, Berlin, http://vimeo.com/69122809 Behavior Research Methods, Instruments & Computers Methods, Behavior Research on Auditory Display sonification for data analysis, G. in (ed), Lasker, intelligent computing and multimedia systems Advanced Studies in System re pp. 189–194, Int. Inst. for many, and cybernetics. search high-dimensional datasets, in Nakatsu, R. and Kawahara, H. Hermann, T., Hermann, Hunt, T., A., and Neuhoff, J. (eds), Handbook tory graphs with a vowel based sonification. modal User Interfaces (eds), J., Neuhoff, and A., Hunt, Publishing House, Berlin, Germany. Auditory Display. pp. 258–264. graphics for exploratory data analysis. ods, Instruments & Computers time series data. of equivalence in perception Cross-modal man Factors on Auditory Display (ICAD06). ternational Conference images, 1958-1987 of Australian the creation able at: in potential new directions, pitfalls, and Promises, Audi on Conference International the of Meeting 05-Eleventh ICAD tory Display, visuocen we too Are data: to assess characteristics of numeric tric? Hermann, T. and Ritter, H., 1999. Listen to and your Ritter, data: Model-basedHermann, T. Hermann, and T. H., Ritter, 2002. Crystallization sonification of Grond, F. Grond, and F. J., Berger, 2011. Parameter Mapping Sonification, in 2012. Singing function, exploring audi and Hermann, T., F. Grond, Global music - The world by 2006. ear. [Concert]. London, UK: 1997. D., Groenewegen, Hermann, T., 2011. Model-Based Sonification, in Hermann, T., and Definitions For Sonification and 2008. Taxonomy Hermann, T., Flowers, J., and Hauer, T., 1993. “Sound” alternatives to visual to visual 1993. “Sound” alternatives T., Flowers, J., and Hauer, graphs: 1995. Musical versus visual T., Flowers, J., and Hauer, Crawford, D., 2013. Crawford, Flowers, J., 2005. Thirteen on years auditoryof graphing:reflection ear’sThe 1992. potentialeye’s the versus T., Hauer, and J., Flowers, quarter
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kvarter akademisk , ------15 Go-Set Interna . [online] http://bri Proceedings Proceedings
The Sonifica The Alex Gionfriddo The Sonification [Accessed 26 James Verhoeven Dr Alwyn Davidson Dr Alwyn Dr Peter Gravestock Volume 09 . [online] Available at: Available [online] . Professor Deb Verhoeven Deb Professor [Accessed 26 March , Washington, DC, USA, , Washington, Turning Gigabytes into Gigs Gigabytes Turning (ICAD04). The Listening Machine . [online] Available . at: [online] Available , pp. 20-24. [Accessed 26 March 2014]. [Accessed 26 March Proceedings of the Information Visualisation, of the Information Visualisation, Proceedings Unpublished Masters Thesis, University ofUnpublished Masters Thesis, University http://thelisteningmachine.org/ Quotidian Record IEEE Multimedia The Place of Go-Set in Rock and Pop Music Culture in Music Culture The Place of Go-Set in Rock and Pop . Logos Publishing House, Berlin, Germany. . Logos Publishing House, Berlin, Proceedings of the International Conference on Auditory Dis on Auditory of the International Conference Proceedings Darwin Tunes: Survival of the Funkiest Darwin Tunes: , Kyoto, Japan, 2002. International Community for Auditory International Community for , Kyoto, Japan, 2002. ney Opera House. 2004. Australia: [Concert]. Sydney, on Auditory Display tional Conference 2012. http://darwintunes.org/ fication, and Musical Expertise:Way Which Is Up? Australia, 1966-1974. Canberra. Neuhoff, J., R., Bargar, Barrass, S., J., Berger, Evreinov, G., Fitch, W., Gröhn, M., Handel, S., Kaper, H., Levkowitz, H., Lodha, S., S., 1999. Tipei, and M., Simoni, B., Shinn-Cunningham, Agenda. Report prepared tion Report: Status of the Field and Research for the National Science Foundation by members of the International Santa Fe, NM: ICAD. Community for Auditory Display. Sonification. Handbook anhouse.net/works/quotidian_record/ 2014]. 30 August 1969 at: Available 2014]. March (eds.), play pp. 871-878. IEEE Computer Society, 2004. IEEE CNF, Display (ICAD), ICAD, pp. 76-81. Display (ICAD), ing adaptive interfaces for interacting with data, in Banissi, E. (eds.), K. and Börner, on (IV’04) Eighth International Conference MacCallum, B., Leroi, A., Mauch, M., Welburn, S., and Bussey, S., S., and Bussey, M., Welburn, A., Mauch, MacCallum, B., Leroi, Neuhoff,Wayand, J., J., and Knight, R., 2002. Pitch Change, Soni Kent, D., 2002. N.; Flowers, J., Miner, Cook, P., B., Bonebright, T., Walker, G., Kramer, Listening to the mind listening: Concert of sonifications at the Syd James, G., 1969. Will the real Billy Thorpe please stand up. the real James, G., 1969. Will Hermann, T., Hermann, Hunt, A., T., and Neuhoff, J. (eds), 2011. House, B., 2012. 2012. P., Jones, D. and Gregson, Hermann, T. and Ritter, H., and 2004. Hermann, Ritter, Neural T. gas sonification – grow to Interactive An Introduction A., 2005. and Hunt, Hermann, T. quarter
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Proceedings of Proceedings Alex Gionfriddo , Boston, MA. [Accessed 26 James Verhoeven http://traubeck. Dr Alwyn Davidson Dr Alwyn Dr Peter Gravestock Volume 09 [Accessed 26 March Professor Deb Verhoeven Deb Professor TUGG: The Ultimate Gig TUGG: The Ultimate Gig [Accessed 26 March Turning Gigabytes into Gigs Gigabytes Turning Principles of Sonification: An http://tugg.me/ , Limerick, Ireland, 2005. Depart Ireland, , Limerick, , Boston, MA, USA, 6-9 July 2003. Proceedings of the 2003 International Proceedings , 19, 8, pp. 1065–1087. http://tugg.me/ http://dennisppaul.de/an-instrument- , Espoo, Finland. . [online] Available at: , Unpublished PhD thesis, Rice University. Years Proceedings of the 11th International Conference on International Conference of the 11th Proceedings Proceedings of the 7th International Conference on Au on Conference International of the 7th Proceedings Magnitude Estimation of Conceptual Data Dimensions Proceedings of the International Conference on Auditory of the International Conference Proceedings Available at: Available An Instrument for the Sonification of Everyday Things . [online] Available at: T., Hunt, T., A., and Neuhoff, J., (eds), to Auditory Display and Sonification. Introduction Auditory Graphs. For Toolkit on Auditory Display Conference for Use in Sonification summary of current experience and towards a research agenda, a research experience and towards summary of current (ed), E. Brazil, in (ICAD 2005) Auditory Display Systems, Universityment of Computer Science and Information of Limerick, pp. 420-422. com/years/ 2014]. Guide 2014]. March 2014]. other sonifications of ice core, DNA, radar, seismic, and solar wind data, in ditory Display (ICAD01) on Auditory Display the 9th International Conference training on performance of a point estimation sonification task. Applied Cognitive Psychology of the 2002 International Conference on Auditory Display Auditory on Conference 2002 International the of Japan July 2-5, 2002. Lost in Dimensions: Can the Data Get Interaction of Perceptual the Map? In Display. [online] Available at: for-the-sonification-of-everday-things/ Walker, B. Theory and of Nees, Sonification,M., in2011. Hermann, Walker, A Graphical B. and Cothran, J., 2003. Sonification Sandbox: Walker, B., 2000. Walker, Traubeck, B., 2011. 2011. B., Traubeck, 2013. A. D. and Gionfriddo, Verhoeven, Quinn, M., 2001. Research set to music: The climate symphony andsymphony climate The music: to set Research 2001. M., Quinn, and cues context auditory of Effects 2005. B., Walker, and D., Smith, A Auditory graphs: Nickerson, L., and Hind, G., 2005. Stockman, T., Quinn, M., 2003. For those who died: A 9/11 tribute, in tribute, 9/11 A died: who those 2003. For M., Quinn, Neuhoff,Wayand,J., G., J., Kramer, and 2000. Sonification and the Paul, D., 2012. quarter
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