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Audio Mostly 2007 Conference Proceedings Audio Mostly 2007 2nd Conference on Interaction with Sound Conference Proceedings September 27 – 28, 2007 Röntgenbau, Ilmenau, Germany © 2007 Fraunhofer Institute for Digital Media Technology IDMT Audio Mostly 2007 - 2nd Conference on Interaction with Sound Conference Proceedings ISBN 978-3-00-022823-0 Fraunhofer Institute for Digital Media Technology IDMT Director Prof. Dr.-Ing. Karlheinz Brandenburg Ehrenbergstr. 29 98693 Ilmenau, Germany Tel. +49 (0) 36 77/69-43 41 Fax +49 (0) 36 77/69-43 99 [email protected] www.idmt.fraunhofer.de Copyright and reprint permission: Abstracting is permitted with credit to the source. For other copying, reprint or reproduction permission, please write to Fraunhofer Institute for Digital Media Technology, Ehrenbergstraße 29, 98693 Ilmenau, Germany. © 2007 by Fraunhofer Institute for Digital Media Technology. Printed in Germany Audio Mostly Conference Commitee Committee Katarina Delsing Interactive Institute, Sonic Studio, Piteå, Sweden [email protected] Holger Grossmann Fraunhofer Institute for Digital Media Technology, Ilmenau, Germany [email protected] Stuart Cunningham University of Wales, Wrexham, UK [email protected] Lilian Johansson Interactive Institute, Sonic Studio, Piteå, Sweden [email protected] Mats Liljedahl Interactive Institute Sonic Studio, Piteå, Sweden [email protected] David Moffat Glasgow Caledonian University, Glasgow, UK [email protected] Nigel Papworth Interactive Institute, Sonic Studio, Piteå, Sweden [email protected] Niklas Roeber Otto von Guericke University of Magdeburg, Germany [email protected] Local Organization Local Arrangements Yvonne Bäro [email protected] Promotion, Proceedings Henning Köhler [email protected] Registration Philipp Meyer [email protected] Contents Ingerl, Andreas; Döring, Nicola Visualization of Music – Reception and Semiotics ......................................................................... 9 Tuuri, Kai; Mustonen, Manne-Sakari; Pirhonen, Antti Same sound – Different meanings: A Novel Scheme for Modes of Listening ............................ 13 Steele, Daniel; Chon, Song Hui A Perceptual Study of Sound Annoyance ..................................................................................... 19 Cunningham, Stuart; Davies, Gareth; Grout, Vic Visual Stimulus for Aural Pleasure ................................................................................................ 25 Blaszczak, Dorota Practical Aspects of Audio Design for the Virtual Environments ................................................ 31 Raffaseder, Hannes SoundTableTennis – an interactive soundinstallation .................................................................. 37 Waisman, Nina The body as transducer: building narratives through gestural and sonic interactivity ............. 40 Raffaseder, Hannes; Hörbst, Kurt staTdT_kunst – an intermedia performance ................................................................................. 45 Seznec, Yann The Wii Loop Machine ................................................................................................................... 48 Hoeberechts, Maia; Demopoulos, Ryan; Katchabaw, Michael J. A Flexible Music Composition Engine ........................................................................................... 52 Dittmar, Christian; Dressler, Karin; Rosenbauer, Katja A Toolbox for Automatic Transcription of Polyphonic Music ...................................................... 58 Katchabaw, Michael J.; Demopoulos, Ryan MUSIDO: A Framework for Musical Data Organization to Support Automatic Music Composition ........................................................................................ 66 Leitich, Stefan; Toth, Markus Public Dj – Music selection in public spaces as multiplayer game .............................................. 72 Farnell, Andy James Procudural game audio using Pure Data ...................................................................................... 76 Reynolds, Gordon; Barry, Dan; Burke, Ted; Coyle, Eugene Towards a Personal Automatic Music Playlist Generation Algorithm: The Need for Contextual Information .......................................................................................... 84 Purwins, Hendrik; Martinez Hernandez, Elena; Adiloglu, Kamil; Annies, Robert; Obermayer, Klaus Representation of Everyday Sounds for Classification of their Perceived Function .................. 90 Gasser, Martin; Pampalk, Elias; Tomitsch, Martin A content-based user-feedback driven Playlist Generator and its evaluation in a real-world scenario .................................................................................. 96 6 Kukharchik, P.; Kheidorov, I.; Martynov, D. Indexing and retrieval scheme for content-based search in audio databases ......................... 100 Reiter, Ulrich TANGA – an Interactive Object-Based Real Time Audio Engine ............................................... 104 Uhle, Christian; Walther, Andreas; Ivertowski, Michael Blind One-to-N Upmixing ............................................................................................................ 110 Gräfe, Andreas; Dausel, Martin; Franck, Andreas Wave Field Synthesis for Games using the OpenAL Interface ................................................... 116 Schimmel, Jiri; Kouril, Jiri Utilization of Radio-Location Methods for XY-Coordinate Tracking of Audio Source ............121 Floros, Andreas; Tsakostas, Christos; Deliyiannis, Yiannis Binaural Rendering for Enhanced 3D Audio Perception ........................................................... 125 Papworth, Nigel; Liljedahl, Mats; Lindberg, Stefan Effective interactive design through quick and flexible prototyping ...................................... 129 Henze, Niels; Heuten, Wilko; Boll, Susanne; Klante, Palle AuditoryPong – Playing PONG in the Dark ................................................................................ 134 Berndt, Axel; Hartmann, Knut Strategies for Narrative and Adaptive Game Scoring ................................................................ 148 Ekman, Inger Sound-based Gaming for Sighted Audiences – Experiences from a Mobile Multiplayer Location Aware Game ............................................... 148 Serafin, Stefania; Nordahl, Rolf Sonic interaction design: case studies from the Medialogy education .................................... 154 Hartmann, Katrin; Buggy, Tom Topical Segmentation of Audio for Tertiary Courseware .......................................................... 160 Röber, Niklas; Huber, Cornelius; Hartmann, Knut; Masuch, Maic Masuch Evolution of Interactive Audiobooks .......................................................................................... 166 Hug, Daniel Game Sound Education at HGKZ – Between Research Laboratory and Experimental Education .................................................... 168 Holm, Jukka; Aaltonen, Antti Associating graphical objects with Musical Tempo .................................................................... 174 Special Presentations within Audio Mostly 2007 ....................................................................... 180 7 8 Visualization of Music – Reception and Semiotics Andreas Ingerl, Institut für Medien- und Kommunikationswissenschaft, TU Ilmenau, [email protected] Nicola Döring, Institut für Medien- und Kommunikationswissenschaft, TU Ilmenau, [email protected] Abstract. Music is primarily auditory but also includes visual elements such as: notation or mental images while hearing music. Music television like MTV or the visualization of music by visual jockeys (VJs) are further examples of combining music with images. However, not much is known about the interaction between auditory and visual representation and perception [1]. How can graphic visualizations intensify or weaken the impression of music concerning entertainment or advancing a better musical comprehension? Are these visuals able to generate a mental model in the viewer’s mind, which corresponds to the attributes of the musical source [2]? 1. Introduction exquisite “visual music” using geometric patterns and shapes choreographed tightly to classical music and jazz [4]. The idea of visualizing music goes back into human history. A relationship between patterns of sounds and patterns of colors In 1987 the music television channel MTV went on the air. In has been known since ancient times. For example, Aristoteles those days the music television was the most modern form of picked up this relationship from China and India in his own music visualization [5]. New possibilities for visualizing music work. Later, Leonardo da Vinci advanced the work of were established around the millennium. During this time of Aristoteles. Isaac Newton attached the seven-tone scale to the high-potential innovations and Internet hype, many software- colors of his prism. The composers Franz Liszt and Max Reger products were created for VJs. In addition to classic light- and created compositions connected with paintings. The best-known laser-visualization, computer generated visuals were now creation of “programme music” is Modest Mussorgskij’s available for a mass of people. “Pictures at an Exhibition” from 1874. Alexander Skriabin developed the Color Piano that led to the Color Light Music. In 2001 a method for real-time visualization of music called Arnold Schönberg also added patterns of color into his “audx” was created and patented [6]. This software was the first compositions
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