heritage for all, 2-3 june 2003 1 musicnetwork, implication for local interest paolo nesi ...

Heritage for All, 2-3 June 2003 1

MUSICNETWORK, MUSICNETWORK, implication for local interestimplication for local interest

Paolo Nesi

[email protected]

Department of Systems and Informatics, University of FlorenceVia S. Marta 3, 50139, Firenze, Italy

tel: +39-055-4796523, fax: [email protected], [email protected]

http://www.dsi.unifi.it/~nesi


MUSICNETWORKMUSICNETWORK• funded by the European Commission to help bring

music into the interactive multimedia era • is a Thematic Network, a virtual centre of

excellence to bring the music industry, content providers and research institutions together

• draws on the assets and mutual interests of these actors to exploit the potential of new technologies, tools, products, formats and models


The role of MUSICNETWORKThe role of MUSICNETWORK

• Content producers and owners

• Content Aggregators/Distributors

• Content Users

• Service

s & Tools

• Systems &

Netw

orks

• Legal a

spect

s

• Fairs • workshops and conferences


MUSICNETWORK Goals MUSICNETWORK Goals Bring music into the interactive multimedia Bring music into the interactive multimedia

era by:era by:• Reducing the gap between technology providers and

technology exploiters

• Better understanding the end user requirements

• Integrating Models and Formats

• Solving technological and integration problems

• Opening– New Services and multimedia music functionalities

– New Markets

– Accelerate the digitization process


OPEN to ALL OPEN to ALL

• Since October 2002

• >500 Participants

• >200 Firms/Institutions

• >180 Qualified Institutions

• 49 states

• Etc..


MUSICNETWORK ActivitiesMUSICNETWORK Activities

• Coordinating Experts– Creating and supporting Working groups on the main

aspects• Focused discussions on user needs and requests

– Analysis of the state of the art, best practices, standards, new models, etc.

– Requirements analysis for each field and for each type of end user and institution

– Integration of the working groups of experts

– Training on MUSICNETWORK events

– Etc.


MUSICNETWORK ActivitiesMUSICNETWORK Activities

• WEB Services:– Forum for collaborative work

– Problems clinique

– Archive for documents, test cases, applications

– Valorization of participant’s activities

– Visualization of Participant www pages

• Dissemination of information and innovation via:– Fairs, conferences, workshops, mailing lists, etc…

– Tutorial notes, Reports, documents, articles, flyers,

– Newsletter, etc..


WEDELMUSIC 2003

Third International Conference on Third International Conference on WEB Delivering of MusicWEB Delivering of Music

15th – 17th September 2003Web: www.wedelmusic.org/wedelmusic2003 Email: [email protected]

MUSICNETWORK Open WorkshopMUSICNETWORK Open Workshop17th – 18th September 2003

Web: www.interactivemusicnetwork.org Email: [email protected] of Leeds

Interdisciplinary Centre forScientific Research in MusicScientific Research in Music (ICSRiM)

University of LeedsSchool of Music, Leeds LS2 9JT, UK

Web: www.icsrim.org.uk Email: [email protected]


Working GroupsWorking Groups

• WG coding music notation, conversion, lyric, modern notation, xml, ....

• WG music for libraries, heritage, classification, ID, retrieval, ….

• WG multimedia standards for music coding, ...

• WG distribution models, devices, mobile,..

• WG protection, encryption, watermark, DRM...

• WG accessibility, music coding for print impaired people, Braille, Spoken Music, special interfaces,..

• WG imaging, coding images of music sheets, restoring, OMR….

• WG Culture, cultural heritage aspects of music

• WG Audio, audio processing and analysis, trans-coding, query by content

• WG Education, educational aspects of music, pedagogical…


Institutions and end-usersInstitutions and end-users

• archives and collectors:– music libraries, multimedia distributors, documentation

centers, audiovisual/multimedia archives, music-related museums

• content professionals for metadata:– librarians, archivists, cataloguers (including providers of

commercial/trade/retail catalogues)

• content users:– musicologists, music schools and conservatories,

musicians, players, performers, orchestras, chamber music groups, music teachers and students (educational sectors), visually impaired people, universities, broadcasting agencies, audiophiles, music amateurs…


Educational institutionsEducational institutions

• To attract more students for classical and other genres of music, different ages, different skills, etc.

• To reduce the costs for music education

• To have a large offer in terms of educational type and paradigms

• To provide to their students interactive music, music courseware with innovative pedagogically driven functionalities

• To distribute music and courseware by using innovative technologies

• To get content from the publishers, faster, cheaper, ..• To share content and courseware with other institutions• To exploit the content contained in the archives, …..


Archives and Libraries Archives and Libraries

• To digitize musical content, integrate, deliver, at low cost• To provide content:

– integrated and interactive, new functionalities, indexing, …– increasing it with that coming from other archives or directly from

publishers, etc..– exploiting e-commerce and respecting copyright with safe DRM

mechanisms

• To manage content:– Digital Asset Management– Query in their several forms, query by content, etc.– Sharing content with other archives– Managing annotation for the users, trace the usage,…

• To Exploit content:– Sharing among archives, etc..– Creating CDs, – Producing educational content by integration


OrchestrasOrchestras

• They are a special case of institution with specific end users

• To get music notation content:– Flexible and that can be manipulated

• Managing versioning: rehearsals, annotations, etc.

• Cooperative work in orchestras,…

– coming from archives or directly from publishers, etc..

– Management of the copyright and renting periods

• To manage content:– Digital Asset Management

– Query in their several forms, query by content, etc.

– Sharing content with other archives


Final UsersFinal Users

• musicologists• musicians, players, performers• music teachers• students• “impaired people”• universities• broadcasting agencies• audiophiles and music amateurs

• Most is related to the channel from Archives to educational institutions and from these to end-user



• Musicologists– Access to archives, wide range of music sources and

content,

– Music notation and audio: comparison, music analysis tools, etc.

– Query by content: melody and metadata, …

– music notation manipulation

• musicians, players, performers– Access to archives, music notation and audio files or

video as examples

– music notation manipulation for arranging, transposing, editing, etc.

– Audio processing tools



• music teachers– Integration with cultural and historical aspects

– Access to archives, • music notation and audio for examples,

• Video, documents, basic pool of exercises, etc.

– music notation manipulation for arranging, transposing, etc.

– Models for Music tuition with the new technologies • Tools for producing music-based courseware

– New paradigms for music tuition and quality assessment• Tools for music tuition and assessment



• Students– Access to archives and courseware

– music notation with audio and videos for examples,

– music notation manipulation for arranging, transposing, etc.

– Cultural and historical content related to music pieces

– Tools for studying historical context

– Tools for self play training and assessment

– Tools for understanding Music Theory and ear training

– Managing annotations and changes, etc..

• impaired people– The same needs as above according to their role

– Uniform access to music content

– Specific user interface, Braille music, spoken music, multichannel interface, etc.



• Universities– Teachers and students as above

– More cultural aspects

• broadcasting agencies– Getting content from archives,

• DRM and protection management aspects

• Fast processing and acquisition

– Format conversion, high quality content

• audiophiles and music amateurs– High quality audio

– Getting content from any archive

– Query by humming


What is Needed to cope with general issuesWhat is Needed to cope with general issues

• Make it available, simpler and cheaper for all:– Several levels

• Content producers: IT specialist, designer, etc.

• intermediate: archivists, music distributors

• end-users: students, music lovers, user at home – Make content and fruition multilingual and

multicultural– Make technology transparent– Make content interoperable– Make solutions and business model more flexible– Make content production faster– Make transaction models safer– …


Multimedia Interactive MusicMultimedia Interactive Music

• Music is evolving towards Multimedia Interactive Music– excerpting– content customization (transposition, editing), versioning

• multilingual and multicultural aspects

– adding notes, expressions, fingerings, adding bookmarks, hyperlinks, etc.

– Indexing….

• Integration of: – cataloguing information: metadata, etc.. – audio, video, scores, images, lyric, etc. – synchronizations, animations, histories, authoring, etc. – new functionalities for integration and interactivity – new rights to be controlled with DRM, every day….


Present identified IssuesPresent identified Issues

• Multimedia Music Notation Modeling– Notation, imaging, audio, documents, video, cataloguing, etc.

– Synchronization and integration, indexing, ..

– New and suitable Standards: MPEG, etc.

– Processors for score images, audio, notation,…. tools

• Content production, integration and distribution– Good models for content: editorial aspects, usability,..

– Multi-channel, multi-lingual and multi-cultural

– Accelerating content creation process, automating process

• Content Fruition– Easy to use tools

– Several easier and new functionalities are needed…

– Pervasive: i-TV, Mobiles, etc…

– etc.


Present identified IssuesPresent identified Issues

• Content management– Collecting and localizing– Sharing and maintaining ownership– Integrating and maintaining ownership– Multilevel retrieval by content – …

• Content Distribution Technologies– Protection and DRM– viable and sustainable transaction and business models,

• Exploitation methodologies

– Multi-channel distribution: sat, Internet, off line, etc..– Multi-lingual and multicultural localization– …


WG current activitiesWG current activities

• Starting methodology definition and collection of test cases to assess OMR (Imaging WG)

• Starting methodology definition and collection of test cases to assess music notation software (notation and standards)

• Review & Contributing to Mpeg 4, 7 and 21 in the content of Music: the integration of music notation model for the multimedia age (notation + standards)

• Review of tools and models for information retrieval (libraries)


WG current activitiesWG current activities

• Review and analysis of distribution models and protection aspects for multimedia content and tools (distribution and protection)

• Review of business models and market driving forces for music distribution (distribution), for instance the case of iTune….

• Reviewing standards and tools for Visually impaired people: Braille Music (accessibility, notation), Spoken Music, etc..

• ……….• ……


Paolo Nesi

www.interavtivemusicnetwork.orgDepartment of Systems and Informatics

University of [email protected], [email protected]

http://www.dsi.unifi.it/~nesi

Thanks for yourattention !

heritage for all, 2-3 june 2003 1 musicnetwork, implication for local interest paolo nesi ...

Documents

wg music

music coding

music industry

educational aspects

groupswg coding music

coding images of music

wg multimedia standards

wg imaging