Interactive Multimedia Music Technologies (Premier Reference Source)

Many multimedia music content owners and distributors are converting their archives of music scores from paper into digital images, and to machine readable symbolic notation in order to survive in the business world. Interactive Multimedia Music Technologies discusses relevant state-of-the-art technologies and consists of analysis, knowledge, and application scenarios as surveyed, analyzed, and evaluated by industry professionals. Interactive Multimedia Music Technologies exemplifies the newest functionalities of multimedia interactive music to be used for valorizing cultural heritage, content and archives that are not currently distributed due to lack of safety, suitable coding models, and conversion technologies. Interactive Multimedia Music Technologies explains new and innovative methods of promoting music and products for entertainment, distance teaching, valorizing archives, and commercial and non-commercial purposes, and provides new services for those connected via personal computers, mobile and other devices, for both sighted and print-impaired consumers. COVER PAGE......Page 1 TITLE: INTERACTIVE MULTIMEDIA MUSIC TECHNOLOGIES......Page 2 ISBN 1599041502......Page 3 TABLE OF CONTENTS (with page links)......Page 4 DETAILED TABLE OF CONTENTS (with page links)......Page 6 PREFACE......Page 12 ACKNOWLEDGMENT......Page 17 INTRODUCTION......Page 18 MUSIC IS NOT ONLY AN AUDITORY EXPERIENCE......Page 19 MUSICNETWORK’S ACTIVITIES AND SERVICES......Page 20 THE WORKING GROUPS (WG)......Page 21 THE MUSICNETWORK PARTICIPANTS......Page 22 REFERENCES......Page 27 ABSTRACT......Page 29 INTRODUCTION......Page 30 GOALS OF SYMBOLIC MUSIC REPRESENTATION......Page 31 SMR FOR EDUCATIONAL AND EDUTAINMENT......Page 32 MPEG SMR ASPECTS......Page 33 FORMALIZATION OF MAJOR REQUIREMENTS......Page 34 THE SMR DECODER AND ITS INTEGRATION IN MPEG-4......Page 36 SCORE RENDERING......Page 38 REFERENCES......Page 40 INTRODUCTION......Page 43 SM-XF: SYMBOLIC MUSIC EXTENSIBLE FORMAT......Page 45 NOTE......Page 47 CHORD......Page 48 BEAM......Page 50 SCORE AND HORIZONTAL SYMBOLS......Page 51 MAIN SCORE......Page 54 SM-FL: SMR FORMATTING LANGUAGE......Page 56 AUDIO GENERATION AND USER INTERACTION......Page 62 ACKNOWLEDGMENT......Page 64 REFERENCES......Page 65 INTRODUCTION......Page 67 BACKGROUND......Page 68 MUSIC DIGITALISATION HARDWARE......Page 69 OPTICAL MUSIC RECOGNITION (OMR) COMMERCIAL OMR SYSTEMS......Page 71 TOP LEVEL DESCRIPTION MAIN PARTS OF ALGORITHM......Page 72 GENERAL COMMENTS......Page 73 FINDING STAVES AND LEDGER LINES FINDING STAVES......Page 74 FINDING NOTE HEADS......Page 75 FINDING TEXT......Page 76 ERASING LNH OBJECTS......Page 77 CHOOSING A DECOMPOSITION......Page 78 RESOLVING AMBIGUITIES IN THE MOCG EDGES IN THE MOCG......Page 79 FINDING CONTEXTUAL PROBABILITIES......Page 80 PRODUCING OUTPUT......Page 81 OMR EVALUATION OBSTACLES......Page 82 CRITERIA FOR EVALUATION......Page 85 RESULT ANALYSIS......Page 88 MUSIC IMAGE RESTORATION......Page 89 CONCLUSION AND FUTURE DIRECTIONS......Page 92 REFERENCES......Page 93 ABSTRACT......Page 97 INTRODUCTION......Page 98 BACKGROUND......Page 99 GENERAL ARCHITECTURE DESCRIPTION......Page 100 SEGMENTATION......Page 102 LEVEL 0......Page 103 TUNING PROCESS......Page 104 STAVES DETECTION......Page 105 GROUPS AND STAND-ALONE SYMBOLS DETECTION......Page 106 FILLED NOTE HEAD DETECTION......Page 107 BEGIN-END BEAM DETECTION......Page 108 LEVEL 2......Page 109 IMAGES WITH BLACK NOTE HEADS......Page 110 THE SEGMENTATION OUTPUT......Page 111 CLASSIFICATION......Page 112 ERROR RECOVERY......Page 113 THE RELATIONSHIPS TABLE......Page 115 MUSIC NOTATION SYMBOL RECONSTRUCTION......Page 116 THE POSITIONAL GRAMMAR......Page 117 ESTIMATION OF THE INITIAL STATUS FOR STRIPS......Page 118 MUSIC NOTATION RULES......Page 119 AGGREGATION PROCESS......Page 120 CONDITIONS FOR RULE CHOICE......Page 122 STATE EVOLUTION......Page 123 REFERENCES......Page 125 INTRODUCTION......Page 128 PAGED AND SCROLLED......Page 129 MATHML......Page 130 MULTIMEDIA DOCUMENT MODEL......Page 131 THE NOTION OF ONTOLOGY IN THE CONTEXT OF XML FOR MUSIC......Page 134 WRITING SYSTEMS......Page 136 HUMAN LANGUAGE WRITING SYSTEMS......Page 137 REUSABILITY AND SCALABILITY......Page 138 DESERIALIZING SIMULTANEOUS EVENTS......Page 140 SYNCHRONIZING MUSIC EVENTS......Page 141 ASSOCIATING MULTILAYERED EVENTS......Page 142 HANDLING DIVERSE CULTURAL MUSIC WRITING SYSTEMS......Page 143 MUSIC SYMBOLS......Page 144 CONCLUSION......Page 146 REFERENCES......Page 147 INTRODUCTION......Page 150 BRIEF HISTORY OF SGML......Page 151 SGML AND DSSSL: STRUCTURE AND FORMAT......Page 152 BRIEF HISTORY OF HYTIME AND SMDL......Page 153 BRIEF HISTORY OF HTML......Page 154 BRIEF HISTORY OF XML......Page 155 SMIL, VERY BRIEFLY......Page 157 BRIEF OVERVIEW OF XML MUSIC APPLICATIONS......Page 158 2. POPULAR INTEREST......Page 160 3. STANDARD WEB BROWSER......Page 161 5. CULTURAL MUSIC WRITING SYSTEMS......Page 162 7. ECONOMY OF MARKUP......Page 163 REFERENCES......Page 164 INTRODUCTION......Page 168 BACKGROUND......Page 169 THE RELEVANCE OF ELECTROACOUSTIC PRACTICE......Page 171 INCORPORATING VIDEO: REQUIREMENTS......Page 174 INCORPORATING VIDEO: PRACTICE......Page 177 FUTURE TRENDS AND CONCLUSION......Page 181 REFERENCES......Page 182 INTRODUCTION......Page 184 BACKGROUND......Page 186 PHENOMENOLOGICAL AND FORMAL DESCRIPTORS IN PLAYER-INSTRUMENT INTERACTION......Page 188 INTERACTIVE BOWED STRINGED INSTRUMENTS......Page 191 USING AN AUDIO SIGNAL TO CONTROL SOUND SYNTHESIS......Page 194 METHODS OF AUDIO SIGNAL DRIVEN SOUND SYNTHESIS......Page 196 PRINCIPLES OF AUDIO SIGNAL DRIVEN SOUND SYNTHESIS......Page 197 MODIFIED SUBTRACTIVE SYNTHESIS......Page 198 APPLICATION......Page 199 EMPIRICAL STUDY OF AN ASDSS APPLICATION......Page 200 USER TESTS......Page 202 DISCUSSION......Page 203 CONCLUSION......Page 205 REFERENCES......Page 206 APPENDIX......Page 210 INTRODUCTION......Page 212 SOME HISTORY NOTES......Page 213 LANGUAGE LEARNING......Page 218 TRADITIONAL AND INNOVATIVE LANGUAGE LEARNING......Page 221 LANGUAGE LABS......Page 225 MULTIMEDIA LANGUAGE LAB CONFIGURATION......Page 226 CONTENT PRODUCTION......Page 228 A CONTEXTUALISED EXAMPLE OF CONTENT DEVELOPMENT FOR E-LEARNING......Page 231 TECHNOLOGY AND ACCESSIBILITY......Page 234 TOOLS AND APPROACHES TO E-LEARNING......Page 238 E-LEARNING, ODL, AND LIFELONG LEARNING......Page 239 VIRTUAL REALITY AND MULTISENSORIAL APPROACH......Page 240 VIRTUAL COMMUNITIES AND FORUMS......Page 241 E-LEARNING AND THE MARKET......Page 242 REFERENCES......Page 245 ENDNOTES......Page 246 INTRODUCTION......Page 248 NATURE OF MUSIC EDUCATION......Page 249 PREVIOUS WORKS IN INTELLIGENT TUTORING SYSTEM......Page 250 CHALLENGES OF WMITS......Page 251 MAIN COMPONENTS OF ITS......Page 252 WMITS: INFRASTRUCTURE......Page 253 WMITS: CONCEPTUAL FRAMEWORK......Page 255 WMITS OFFERS DOMAIN SPECIFIC CLIENT TOOLS WITH OBSERVABLE ENVIRONMENT......Page 257 WMITS OFFERS INTERACTIVE LEARNING EXPERIENCE......Page 258 WMITS SUPPORTS DIFFERENT INFERENCE MECHANISMS......Page 259 OTHER CHALLENGES......Page 261 FUTURE TRENDS......Page 262 CONCLUSION......Page 263 REFERENCES......Page 264 INTRODUCTION......Page 266 CREATION OF DIGITAL OBJECTS......Page 267 DRM INITIATIVES......Page 268 CORAL......Page 269 PUBLISHING REQUIREMENTS FOR INDUSTRIAL STANDARD METADATA (PRISM)......Page 270 STARDARDISATION ACTIVITIES MPEG-21 STANDARD......Page 271 DIGITAL ITEM DECLARATION (DID)......Page 274 INTELLECTUAL PROPERTY MANAGEMENT AND PROTECTION (IPMP)......Page 275 RIGHTS DATA DICTIONARY (RDD)......Page 277 EVENT REPORTING......Page 279 OMA DRM......Page 281 OMA DRM SYSTEM......Page 282 RIGHTS MANAGEMENT AND PROTECTION......Page 283 ARCHITECTURE......Page 284 HELIX DRM......Page 285 RIGHTS EXPRESSION LANGUAGES......Page 286 MPEG-21 REL......Page 287 RIGHTS......Page 288 CONDITIONS......Page 289 ODRL......Page 292 PERMISSION MODEL......Page 293 CREATIVE COMMONS......Page 294 CREATIVE COMMONS LICENSES......Page 295 INTEROPERABILITY BETWEEN RIGHTS EXPRESSION LANGUAGES......Page 296 REFERENCES......Page 297 INTRODUCTION......Page 300 PUBLISHING RIGHTS AND LICENSING......Page 301 ILLEGAL FILE SHARING......Page 302 DIGITAL RIGHTS MANAGEMENT......Page 303 CONTENT DESCRIPTION......Page 306 RIGHTS DESCRIPTION LANGUAGES......Page 307 SYMMETRIC ENCRYPTION METHODS......Page 308 ASYMMETRIC ENCRYPTION METHODS......Page 309 ONE-WAY ENCRYPTION......Page 310 CHARACTERISTICS AND REQUIREMENTS......Page 311 APPLICATIONS IN DRM SYSTEMS......Page 313 CHARACTERISTICS AND REQUIREMENTS......Page 314 APPLICATIONS IN DRM SYSTEMS......Page 316 GENERAL ASPECTS......Page 317 DRM ARCHITECTURE......Page 318 CONSUMER......Page 319 SECURITY ISSUES......Page 320 INTEGRATING DRM SYSTEMS WITH EXISTING SYSTEMS......Page 321 WEB PUBLISHING AND CUSTOMER RELATIONSHIP MANAGEMENT......Page 322 EXAMPLES FOR CONFLICTS BETWEEN SECURITY AND CONSUMER ISSUES......Page 323 FURTHER CRITERIA......Page 324 TECHNOLOGICAL POSSIBILITIES AND PRACTICAL LIMITATIONS......Page 325 INFLUENCE OF DRM ON THE DIGITAL MUSIC INDUSTRY VALUE CHAIN......Page 326 BUSINESS AND LICENSE MODELS......Page 327 INTEROPERABLE DRM......Page 328 LESS INTERFERING DRM......Page 329 THE “SOCIAL DISTRIBUTION NETWORK” (SDN)......Page 330 SUMMARY......Page 331 THE FUTURE SOLUTION......Page 332 THE EVOLUTION OF P2P NETWORKS......Page 334 SUMMARY......Page 335 REFERENCES......Page 336 ENDNOTES......Page 340 INTRODUCTION......Page 342 BACKGROUND MAIN ACTORS IN THE MARKET......Page 344 COPYRIGHT COLLECTING SOCIETIES......Page 345 END USERS......Page 346 INDEPENDENT ORGANIZATIONS......Page 347 COPYRIGHT, AUTHOR’S RIGHTS, INTELLECTUAL PROPERTY, AND FAIR USE WHAT IS COPYRIGHT......Page 350 DIFFERENT CATEGORIES OF RIGHTS......Page 352 COLLECTIVE ADMINISTRATION......Page 353 ONLINE MUSIC DISTRIBUTION SERVICES......Page 354 APPLE ITUNES MUSIC STORE......Page 355 IMPACT OF DIGITAL TECHNOLOGIES ON COPYRIGHTS......Page 356 GENERAL REQUIREMENTS......Page 358 LEGAL ISSUES TWO VIEWS ON RIGHTS......Page 360 CONSUMER RIGHTS AND FAIR USE......Page 361 SOLUTIONS AND RECOMMENDATIONS TECHNOLOGIES AND PRODUCTS FOR ONLINE MUSIC DISTRIBUTION......Page 362 APPLE ITUNES, THE IPOD, AND IPHONE......Page 363 CORAL DRM INTEROPERABILITY STANDARD......Page 364 ELEMENT E-SALES......Page 365 MICROSOFT WINDOWS MEDIA DRM "This book illustrates how interactive music can be used for valorizing cultural heritage, content and archives not currently distributed due to lack of safety, suitable coding, or conversion technologies. It explains new methods of promoting music for entertainment, teaching, commercial and non-commercial purposes, and provides new services for those connected via PCs, mobile devices, whether sighted or print-impaired"--Provided by publisher. "This book illustrates how interactive music can be used for valorizing cultural heritage, content and archives not currently distributed due to lack of safety, suitable coding, or conversion technologies. It explains new methods of promoting music for entertainment, teaching, commercial and non-commercial purposes, and provides new services for those connected via PCs, mobile devices, whether sighted or print-impaired"--Note de l'éditeur