Frontiers Digit. Humanit.最新文献

{"title":"Learning, Probability and Logic: Toward a Unified Approach for Content-Based Music Information Retrieval","authors":"H. Crayencour, Carmine-Emanuele Cella","doi":"10.3389/fdigh.2019.00006","DOIUrl":"https://doi.org/10.3389/fdigh.2019.00006","url":null,"abstract":"Within the last fifteen years, the field of Music Information Retrieval (MIR) has made tremendous progress in the development of algorithms for organizing and analyzing the ever-increasing large and varied amount of music and music-related data available digitally. However, the development of content-based methods to enable or improve multimedia retrieval still remains a central challenge. In this perspective paper, we critically look at the problem of automatic chord estimation from audio recordings as a case study of content-based algorithms, and point out several bottlenecks in current approaches: expressiveness and flexibility are obtained to the expense of robustness and vice-versa; available multimodal sources of information are little exploited; modeling multi-faceted and strongly interrelated musical information is limited with current architectures; models are typically restricted to short-term analysis that does not account for the hierarchical temporal structure of musical signals. Dealing with music data requires the ability to handle both uncertainty and complex relational structure at multiple levels of representation. Traditional approaches have generally treated these two aspects separately, probability and learning being the standard way to represent uncertainty in knowledge, while logical representation being the standard way to represent knowledge and complex relational information. We advocate that the identified hurdles of current approaches could be overcome by recent developments in the area of Statistical Relational Artificial Intelligence (StarAI) that unifies probability, logic and (deep) learning. We show that existing approaches used in MIR find powerful extensions and unifications in StarAI, and we explain why we think it is time to consider the new perspectives offered by this promising research field.","PeriodicalId":227954,"journal":{"name":"Frontiers Digit. Humanit.","volume":"243 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115642510","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"From Social Networks to Publishing Platforms: A Review of the History and Scholarship of Academic Social Network Sites","authors":"Katy Jordan","doi":"10.3389/fdigh.2019.00005","DOIUrl":"https://doi.org/10.3389/fdigh.2019.00005","url":null,"abstract":"Social network sites enable people to easily connect to and communicate with others. Following the success of generic platforms such as Facebook, a variety of online services launched during the mid 2000s in order to bring the benefits of online social networking to an academic audience. However, it is not clear whether these academic social network sites (ASNS) are primarily aligned with social networking or alternative publishing, and functionalities continue to change. Now ten years since the launch of the three main platforms which currently lead the market (Academia.edu, ResearchGate, and Mendeley), it is timely to review how and why ASNS are used. This paper discusses the history and definition of ASNS, before providing a comprehensive review of the empirical research related to ASNS to-date. Five main themes within the research literature are identified, including: the relationship of the platforms to Open Access publishing; metrics; interactions with others through the platforms; platform demographics and social structure; and user perspectives. Discussing the themes in the research both provides academics with a greater understanding of what ASNS can do and their limitations, and identifies gaps in the literature which would be valuable to explore in future research.","PeriodicalId":227954,"journal":{"name":"Frontiers Digit. Humanit.","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116632610","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Index-Driven Digitization and Indexation of Historical Archives","authors":"Giovanni Colavizza, Maud Ehrmann, Fabio Bortoluzzi","doi":"10.3389/fdigh.2019.00004","DOIUrl":"https://doi.org/10.3389/fdigh.2019.00004","url":null,"abstract":"The promise of digitization of historical archives lies in their indexation at the level of contents. Unfortunately, this kind of indexation does not scale with the speed of digitization if done manually. In this article we present a method to bootstrap the deployment of a content-based information system for digitized historical archives, relying on extant indexing tools. Such indexes were commonly prepared to search within homogeneous records when the archive was still current. We present a conceptual model to describe and manipulate historical indexing tools. We then introduce a systematic approach for their use in order to guide digitization campaigns and to index digitized historical records. Eventually, we exemplify the approach with a case study on the indexation system of the X Savi alle Decime in Rialto, a Venetian magistracy in charge for the exaction - and related record keeping - of a tax on real estate in early modern Venice.","PeriodicalId":227954,"journal":{"name":"Frontiers Digit. Humanit.","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127932349","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Mapping by Observation: Building a User-Tailored Conducting System From Spontaneous Movements","authors":"Álvaro Sarasúa, Julián Urbano, E. Gómez","doi":"10.3389/fdigh.2019.00003","DOIUrl":"https://doi.org/10.3389/fdigh.2019.00003","url":null,"abstract":"Metaphors are commonly used in interface design within Human-Computer Interaction (HCI). Interface metaphors provide users with a way to interact with the computer that resembles a known activity, giving instantaneous knowledge or intuition about how the interaction works. A widely used one in Digital Musical Instruments (DMIs) is the conductor-orchestra metaphor, where the orchestra is considered as an instrument controlled by the movements of the conductor. We propose a DMI based on the conductor metaphor that allows to control tempo and dynamics and adapts its mapping specifically for each user by observing spontaneous conducting movements (i.e. movements performed on top of fixed music without any instructions). We refer to this as mapping by observation given that, even though the system is trained specifically for each user, this training is not done explicitly and consciously by the user. More specifically, the system adapts its mapping based on the tendency of the user to anticipate or fall behind the beat and observing the Motion Capture descriptors that best correlate to loudness during spontaneous conducting. We evaluate the proposed system in an experiment with twenty four (24) participants where we compare it with a baseline that does not perform this user-specific adaptation. The comparison is done in a context where the user does not receive instructions and, instead, is allowed to discover by playing. We evaluate objective and subjective measures from tasks where participants have to make the orchestra play at different loudness levels or in synchrony with a metronome. Results of the experiment prove that the usability of the system that automatically learns its mapping from spontaneous movements is better both in terms of providing a more intuitive control over loudness and a more precise control over beat timing. Interestingly, the results also show a strong correlation between measures taken from the data used for training and the improvement introduced by the adapting system. This indicates that it is possible to estimate in advance how useful the observation of spontaneous movements is to build user-specific adaptations. This opens interesting directions for creating more intuitive and expressive DMIs, particularly in public installations.","PeriodicalId":227954,"journal":{"name":"Frontiers Digit. Humanit.","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126684540","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Corrigendum: An Attempt to Estimate the Impact of the Spread of Economic Flows on Latenian Urbanization","authors":"Clara Filet","doi":"10.3389/fdigh.2019.00002","DOIUrl":"https://doi.org/10.3389/fdigh.2019.00002","url":null,"abstract":"","PeriodicalId":227954,"journal":{"name":"Frontiers Digit. Humanit.","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127279587","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Technology Enhanced Learning: The Role of Ontologies for Feedback in Music Performance","authors":"M. Yee-King, Thomas Wilmering, M. T. Rodriguez, Maria Krivenski, M. d'Inverno","doi":"10.3389/fdigh.2018.00029","DOIUrl":"https://doi.org/10.3389/fdigh.2018.00029","url":null,"abstract":"In this paper, we present an analysis of feedback as it occurs in classroom-based and technology supported music instrument learning. Feedback is key to learning in music education, and we have developed technology based on ideas from social media and audio annotation which aims to make feedback more effective. The analysis here aims to enhance our understanding of technology-mediated feedback. The result of this analysis is three ontologies describing feedback and feedback systems. First, we developed the emph{teacher's ontology} using a qualitative, observational approach to describe the types of feedback that music instrument tutors give to their students. We used this ontology to inform the design of an online music annotation platform for music students. Second, we developed the emph{grounded ontology} using a grounded theory approach, based on 2,000 annotations made by students and tutors using the annotation platform. We compare the grounded and teacher's ontologies by examining structural, semantic and expressive features. Through this comparison, we find that the grounded ontology includes elements of the teacher's ontology as well as elements relating to practical and social aspects of the annotation platform, while the teacher's ontology contains more domain knowledge. The third ontology is a formalisation of the transactional capabilities of the platform, and we refer to it as the emph{platform ontology}. We present it using the OWL language, and we show how this allows us to develop several practical use cases, including the use of semantic web capabilities in music education contexts.","PeriodicalId":227954,"journal":{"name":"Frontiers Digit. Humanit.","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115258336","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Large-Scale Urban Prototyping for Responsive Cities: A Conceptual Framework","authors":"Peter Bus","doi":"10.3389/fdigh.2019.00001","DOIUrl":"https://doi.org/10.3389/fdigh.2019.00001","url":null,"abstract":"Despite ubiquitous urbanization and worldwide standardization, there is a lack of better differentiation between cities towards more customized environments. Although current advancements in computational design and digital fabrication technologies have been successfully applied in various architectural scales, they have rarely, if ever, been implemented in a larger urban context that can lead to broader benefit and responses for citizens. This research aims to describe the potential of digital fabrication methods for large-scale urban applications that can subsequently lead to more diverse and unique urban environments. This paper summarizes state-of-the-art principles for large-scale building construction that have been implemented in the past, along with current research and practice, and outlines a conceptual framework for possible future directions for large quantities of automatic and bespoke construction deliveries for future customized urban scenarios. This article also outlines the effects of end-users’ participation on urban developments using online users’ interface to inform building processes. To address aspects of end-users’ engagement in customization of cities, the article elaborates the question of responsiveness, where the citizen actively interacts with the environment and building technology and vice versa in order to customize the urban space. This is theoretically and conceptually explained and illustrated in a case study related to the formerly industrial harbor area of Tanjong Pagar in the city of Singapore, which is a test-bed for new urban developments on 325 ha of waterfront land in the downtown port area within the context of a tropical city.","PeriodicalId":227954,"journal":{"name":"Frontiers Digit. Humanit.","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124067559","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Languages for Computer Music","authors":"R. Dannenberg","doi":"10.3389/fdigh.2018.00026","DOIUrl":"https://doi.org/10.3389/fdigh.2018.00026","url":null,"abstract":"Specialized languages for computer music have long been an important area of research in this community. Computer music languages have enabled composers who are not software engineers to nevertheless use computers effectively. While powerful general-purpose programming languages can be used for music tasks, experience has shown that time plays a special role in music computation, and languages that embrace musical time are especially expressive for many musical tasks. Time is expressed in procedural languages through schedulers and abstractions of beats, duration and tempo. Functional languages have been extended with temporal semantics, and object-oriented languages are often used to model stream-based computation of audio. This chapter considers models of computation that are especially important for music programming, how these models are supported in programming languages, and how this leads to expressive and efficient programs. Concrete examples are drawn from some of the most widely used music programming languages.","PeriodicalId":227954,"journal":{"name":"Frontiers Digit. Humanit.","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126880681","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"I am Streaming in a Room","authors":"C. Chafe","doi":"10.3389/fdigh.2018.00027","DOIUrl":"https://doi.org/10.3389/fdigh.2018.00027","url":null,"abstract":"Internet Acoustics is the study of sound traveling through the Internet, treating it as an acoustical medium just like air or water. Real-time streaming of sound, something commonplace nowadays, can be exploited for its own \"physics\" of propagation. In a digitally-connected telecommunication world, rooms of the kind which will be described enclose remotely collaborating musicians in their own reverberated sound. The ambiance which results is the product of an acoustical loop which creates room-like resonances. They are created between Internet endpoints which recirculate sound echoes on the paths between them.These are synthesized acoustical spaces engineered to resemble actual rooms and distinct from other kinds of online rooms where \"room\" is used metaphorically for gatherings of users participating in teleconference or chat applications. The present article describes room-like internet reverberation for local area and wide area networking, respectively named LAIR and WAIR. Aspects of the medium, algorithms used and the resulting musical experiences are detailed.","PeriodicalId":227954,"journal":{"name":"Frontiers Digit. Humanit.","volume":"139 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133696872","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Computational Models of Expressive Music Performance: A Comprehensive and Critical Review","authors":"Carlos Eduardo Cancino-Chacón, M. Grachten, W. Goebl, G. Widmer","doi":"10.3389/fdigh.2018.00025","DOIUrl":"https://doi.org/10.3389/fdigh.2018.00025","url":null,"abstract":"Expressive performance is an indispensable part of music making. When playing a piece, expert performers shape various parameters (tempo, timing, dynamics, intonation, articulation, etc.) in ways that are not prescribed by the notated score, in this way producing an expressive rendition that brings out dramatic, affective, and emotional qualities that may engage and affect the listeners. Given the central importance of this skill for many kinds of music, expressive performance has become an important research topic for disciplines like musicology, music psychology, etc. This paper focuses on a specific thread of research: work on computational music performance models. Computational models are attempts at codifying hypotheses about expressive performance in terms of mathematical formulas or computer programs, so that they can be evaluated in systematic and quantitative ways. Such models can serve at least two main purposes: they permit us to systematically study certain hypotheses regarding performance; and they can be used as tools to generate automated or semi-automated performances, in artistic or educational contexts. The present article presents an up-to-date overview of the state of the art in this domain. We explore recent trends in the field, such as a strong focus on data-driven (machine learning); a growing interest in interactive expressive systems, such as conductor simulators and automatic accompaniment systems; and an increased interest in exploring cognitively plausible features and models. We provide an in-depth discussion of several important design choices in such computer models, and discuss a crucial (and still largely unsolved) problem that is hindering systematic progress: the question of how to evaluate such models in scientifically and musically meaningful ways. From all this, we finally derive some research directions that should be pursued with priority, in order to advance the field and our understanding of expressive music performance.","PeriodicalId":227954,"journal":{"name":"Frontiers Digit. Humanit.","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121778666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}