Following the tradition at CMMR, we are pleased to announce a set of Special Sessions will form part of the technical program. The sessions either represent new and emerging topics or those which are of particular interest from a multi-disciplinary perspective.
Please note, submission to the special sessions is open to all and will take place through the standard CMMR submission system. However, those interested in participating are invited to contact the special session organisers prior to submission.
Virtual reality and music
Organiser: Stefania Serafin – Aalborg University, Denmark
Virtual reality (VR) technologies are recently having a boost in popularity, thanks to the availability of low cost hardware devices and user friendly software platforms. One of the domains where VR might make an impact is music. This includes applications where the user is a spectator, such as experiencing concerts captured with 360 movies or interactive immersive music videos, but also applications where the user is an actor, such as playing and performing VR musical instruments. The goal of this session is to examine the state of the art of VR and music from the perspective of computer music modelling and simulation in a multimodal context.
Electronic Dance Music
Organiser: Jason Hockman – Birmingham City University, UK
Electronic dance music (EDM) is a term for the various loosely-related music genres made through the use of computer technology intended for nightclubs and festivals. With millions of professional and amateur musicians making EDM, it is no surprise that the it is among the most popular musical style that exist today. While early subgenres associated with EDM were grouped around familiar terms such as Techno, House and Drum & Bass, recent years have seen a proliferation of subgenres (e.g., Psytrance, Trap and Juke) through the intersection of various forms of music both inside and outside the evolving genre boundaries.
Computational assessment of the EDM genres can afford an analytical perspective of EDM; for example offering informative evaluation of how rhythm, pitch, timbre or influence operate within the music. Alternatively, such analysis may also be fed back into the genres for the development of new tools for music creation. The objective of this session is to focus on current research targeting either of these research areas within the context of EDM. Contributions are welcomed from a wide range of topics and disciplines including but not limited to Music Informatics, Computational Musicology, Digital Signal Processing and Audio Effects, Compositional Techniques and Performance Practice.
Research and creation: spaces and modalities
Organisers: Christine Esclapez, Nicolas Darbon and Julien Ferrando, Aix-Marseile University, CNRS, PRISM, France.
In his writings « Experimental Music », John Cage insists on the difference between « making a piece of music » and « hearing one» in the following terms:
A composer knows his work as a woodsman knows a path he has traced and retraced, while a listener is confronted by the same work as one is in the woods by a plant he has never seen before (2012, p. 8).
This difference evoked by Cage should be considered in the context of the origin of experimental music from the 1960s and should more generally take into account the clear separation that in those days existed between theory and practice within both research and education, in particular between creative musical thinking and heard and/or played music. Today the porosity between science and practices brings us to reconsider this separation and consider these two aspects within an intermediate malleable, almost organic space that favors communication with a common desire to invent the artistic and scientific worlds of tomorrow.
It is within this emerging territory of research-creation that this special session will be held, allowing to extend Cage’s ideas to another framework of actions. This session aims at exploring the intermediate territory between research and creation and proposes to conceive it as the « swaying between body and space – swing », hereby proposing a meeting place between researchers and creators in which everyone tries to subjectively tune to the other (Varela) without ignoring their own bodies.
Time (and its elasticity) is central within these questions, and different temporalities within research and creation should be considered in terms of possibilities, modalities, similarities and even impossibilities.
By opening and organizing new fields of experimentation and exploring such intermediate territories, new spaces of creation, improvisation and/or rewriting can be conceived.
Sound in practice: Auditory guidance and feedback in the context of motor learning and motor adaptation.
Organisers: Marta Bieńkiewicz, Christophe Bourdin and Lionel Bringoux – ISM and Aix-Marseille University, France
Many research teams are currently on the quest to discover an efficient manner by which to shape motor performance using auditory information. The end-goal is to enhance particular spatial and/or temporal properties of movement in an online (sonification, immersion) and offline fashion (guidance, priming, pattern of reference). However, unlike with other sensory modalities, there is not yet a well defined body of research that addresses the design aspects of human-sound interfaces: key features for effective audition-movement mapping are still relatively unknown.
We hope this session will bring teams from different labs together to present their latest work via oral presentations and spark a quality scientific discussion on what direction to take next in this field. We therefore invite contributions* focusing on the use of auditory signals in steering motor behavior – especially in the context of motor learning and adaption. Contributions are welcomed from both basic and applied research (i.e. sport, rehabilitation or reeducation, and machine-tool operation).
*Note, for this special session only, submissions in the form of an abstract (max. 250 words) will be accepted. Please be aware that a full registration will be required as per any other paper, music or demo presented at CMMR.